Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America
©2016 by the Braille Authority of North America All rights reserved.
This material may be duplicated but not altered or sold.
ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille)
Printed by the American Printing House for the Blind. Copies may be purchased from:
American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01
The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers.
For more information and resources, visit www.brailleauthority.org.
ii
BANA Music Technical Committee, 2015
Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway
Other Contributors
Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison
iii
TABLE OF CONTENTS
ACKNOWLEDGMENTS ...... xvii
PREFACE ...... xviii
FOREWORD TO THE MANUAL OF BRAILLE MUSIC NOTATION, AMERICAN EDITION, 1988 ...... xix
SUMMARY OF RULE CHANGES ...... xxi
TABLES OF SIGNS ...... 1
BASIC SIGNS...... 2
Table 1. General Signs ...... 2
Table 2. Notes and Note Values ...... 3
Table 3. Octave Marks ...... 4
Table 4. Clef Signs ...... 4
Table 5. Rests ...... 5
Table 6. Accidentals and Key Signatures ...... 5
Table 7. Meter Indications and Time Devices ...... 6
Table 8. Irregular Note Grouping ...... 6
Table 9. Intervals ...... 7
Table 10. The Tie ...... 7
Table 11. In-Accord and Measure-Division Signs ...... 8
Table 12. Stem Signs ...... 8
Table 13. The Slur ...... 9
Table 14. Tremolo ...... 10
Table 15. Fingerings ...... 11
Table 16. Ornaments ...... 12
Table 17. Print Repeats ...... 15
iv
Table 18. Braille Full- and Part-Measure Repeats, Parallel Movement, and Sequence Abbreviation ...... 15
Table 19. Braille Numeral Repeats ...... 16
Table 20. Da Capo and Dal Segno Repeats ...... 16
Table 21. Annotations and Variants ...... 16
Table 22. Nuances ...... 17
Table 23. Chord Symbols ...... 20
SIGNS FOR INSTRUMENTAL MUSIC ...... 21
Table 24. String Instruments ...... 21
Table 25. Keyboard Instruments ...... 24
Table 26. Figured Bass and Harmonic Analysis ...... 25
Table 27. Harps ...... 26
Table 28. Accordions ...... 27
Table 29. Abbreviations for Instrument Names ...... 28
Table 30. Wind Instruments and Percussion ...... 32
SIGNS FOR VOCAL MUSIC ...... 33
Table 31. Signs in Music Lines ...... 33
Table 32. Signs in Word Lines ...... 34
SIGNS FOR METHODS NOT IN USE BY BANA ...... 35
Table 33. Section-by-Section ...... 35
Table 34. Vertical Score and Bar-by-Bar ...... 35
Table 35. Substitution ...... 35
Table 36. Note-for-Note ...... 35
PART I. BASIC SIGNS ...... 36
1. GENERAL PROCEDURES AND SIGNS ...... 36
1.1. Facsimile and Nonfacsimile Transcription ...... 36
1.2. Use of English Contractions ...... 36
v
1.3. Parentheses ...... 37
1.4. Preliminary Pages ...... 37
1.5. Pagination of Music Pages ...... 38
1.6. The Page Heading ...... 40
1.7. The Music Heading ...... 40
1.8. Metronome Indications ...... 41
1.9. Prefix for Transcriber-Added Signs ...... 43
1.10. Bar Lines ...... 43
1.11. The Braille Music Hyphen ...... 45
1.12. Doubling of Signs ...... 45
1.13. Print Brackets ...... 45
1.14. Coincidence of Notes in More Than One Part ...... 46
1.15. Errors in Print Music ...... 47
1.16. Music Notation in Literary Context ...... 47
1.17. Placement of Copyright Notices in Anthologies ...... 48
2. NOTES AND NOTE VALUES ...... 49
2.1. Note Names and Values ...... 49
2.2. Alternative Signs for Double Whole Note ...... 49
2.3. Dotted Notes ...... 49
2.4. Larger and Smaller Value Signs ...... 50
2.5. Specially Shaped Notes ...... 51
2.6. Proportional Notation ...... 52
3. OCTAVE SIGNS ...... 53
3.1. The Octaves ...... 53
3.2. Rules for Octave Marks ...... 53
3.3. 8va and 15ma ...... 54
4. CLEF SIGNS ...... 56
vi
4.1. Clef Signs Limited to Facsimile Transcriptions ...... 56
4.2. Octave Marks and Dot-3 Separators ...... 56
4.3. Staff Line Given with Clef Sign ...... 56
4.4. Clef Signs with Ottavas ...... 56
4.5. Modified Clef Signs ...... 57
5. RESTS ...... 58
5.1. Rest Signs ...... 58
5.2. Transcriber-Added Rests ...... 58
5.3. Multiple-Measure Rests ...... 58
5.4. Dotted Rests ...... 59
6. ACCIDENTALS AND KEY SIGNATURES ...... 60
6.1. Placement of Accidentals ...... 60
6.2. Restating Accidentals ...... 60
6.3. Quarter-Tone Accidentals ...... 61
6.4. Accidental Signs in Literary Context ...... 61
6.5. Key Signatures...... 61
7. METER INDICATIONS AND TIME DEVICES ...... 63
7.1. Meter Signatures ...... 63
7.2. Real-Time Devices ...... 65
8. GROUPING OF NOTES ...... 68
8.1. Braille Note-Grouping Procedure ...... 68
8.2. Regularly Grouped Eighth Notes ...... 70
8.3. Irregular Beams Shown by Music Comma ...... 70
8.4. Single-Cell Sign for a Triplet ...... 71
8.5. Three- or Four-Cell Sign for Irregular Groups ...... 72
8.6. Adding Numerals That Are Absent in Print ...... 73
9. INTERVALS ...... 74
vii
9.1. Transcribing Chords ...... 74
9.2. Direction of Intervals ...... 75
9.3. Doubling of Intervals ...... 76
9.4. Tone Clusters ...... 78
9.5. The Moving-Note Device ...... 79
10. THE TIE ...... 81
10.1. Single Ties ...... 81
10.2. Chord Ties ...... 83
10.3. Ties to Implied Notes ...... 85
11. IN-ACCORD AND MEASURE-DIVISION SIGNS ...... 87
11.1. In-Accord Procedures ...... 87
11.2. Restating Accidentals in In-Accords ...... 90
11.3. Continued Doublings and Slurs in Consecutive In-Accords ... 90
11.4. Dividing a Measure between Lines ...... 91
12. STEM SIGNS ...... 92
12.1. Function of Stem Signs ...... 92
12.2. Placement of Stem Signs ...... 92
12.3. Modifiers with Stem Signs ...... 93
12.4. Intervals with Stem Signs ...... 93
13. THE SLUR ...... 94
13.1. Purposes of Slurs ...... 94
13.2. Short Slurred Phrases ...... 94
13.3. Longer Slurred Phrases ...... 94
13.4. Convergence of Slurs ...... 97
13.5. Slurs Together with Ties ...... 98
13.6. Slurs between Parts ...... 98
13.7. The Half Phrase ...... 103
viii
13.8. Slurs with Nuances ...... 103
13.9. Slurs with Appoggiaturas ...... 103
13.10. Unattached Slurs ...... 105
14. TREMOLO ...... 106
14.1. Types of Tremolo ...... 106
14.2. Repeated-Note Tremolo ...... 106
14.3. Alternation Tremolo ...... 106
15. FINGERING ...... 108
15.1. Placing Fingering Signs ...... 108
15.2. Change of Fingering ...... 108
15.3. Adjacent Notes with One Finger ...... 109
15.4. Alternative Fingerings ...... 109
16. ORNAMENTS ...... 111
16.1. Interpretation of Ornaments ...... 111
16.2. Appoggiaturas ...... 111
16.3. Trills ...... 113
16.4. Turns and Inverted Turns ...... 114
16.5. Mordents ...... 116
16.6. The Glissando Sign ...... 116
16.7. Ornaments Derived from Jazz Idioms ...... 119
16.8. Unusual Ornaments ...... 119
17. PRINT REPEATS ...... 120
17.1. Initial and Terminal Repeat Signs ...... 120
17.2. Aperiodic Repetition ...... 122
17.3. Print Measure Repeat Symbol ...... 122 18. BRAILLE FULL- AND PART-MEASURE REPEATS, PARALLEL MOVEMENT, AND SEQUENCE ABBREVIATION ...... 123
ix
18.1. General Use of the Braille Repeat Sign ...... 123
18.2. Full-Measure Repeats ...... 127
18.3. Part-Measure Repeats ...... 129
18.4. The Braille Repeat with In-Accords ...... 132
18.5. Braille Repeats in Unmeasured Music or Irregular Group ... 132
18.6. The Parallel Movement Sign ...... 133
18.7. Sequence Abbreviation ...... 134
19. BRAILLE NUMERAL REPEATS ...... 137
19.1. Braille Repeats Using Numerals ...... 137
19.2. Numeral Repeats in Different Octaves and Dynamics ...... 139
19.3. Ties with Numeral Repeats ...... 140
19.4. Slurs with Numeral Repeats ...... 140
19.5. Doubling in a Numeral Repeat ...... 141
19.6. Signs That May Be Attached to a Numeral Repeat ...... 142
19.7. Numeral Repeats in Bar-over-Bar Format ...... 142
20. DA CAPO AND DAL SEGNO REPEATS ...... 144
20.1. Da Capo and Dal Segno Procedures ...... 144
20.2. D.C. and D.S. in Print and Braille-Only ...... 147
20.3. D.C. and D.S. in Bar-over-Bar Format ...... 151
21. ANNOTATIONS AND VARIANTS ...... 152
21.1. The Music Asterisk ...... 152
21.2. Footnotes ...... 153
21.3. Music Parentheses ...... 154
21.4. Editorial Markings ...... 154
21.5. Variant Readings ...... 155
21.6. Variations in Print Type ...... 156
22. NUANCES AND VERBAL EXPRESSIONS ...... 160
x
22.1. Symbols That Precede the Note in Braille ...... 160
22.2. Symbols That Follow the Note in Braille ...... 161
22.3. Words and Abbreviated Words of Expression ...... 161
22.4. Fan-Shaped Beams ...... 167
23. CHORD SYMBOLS ...... 169
23.1. Transcribing Chord Symbols ...... 169
23.2. Indications That Are Not Chord Symbols ...... 170
23.3. Chord Symbols in Various Formats ...... 170
PART II. INSTRUMENTAL MUSIC ...... 171
24. INSTRUMENTAL SOLOS AND ENSEMBLE PARTS ...... 171
24.1. Single-Line Format ...... 171
24.2. Placing Rehearsal Reference Marks ...... 172
24.3. Markings Extracted from a Score ...... 172
24.4. Parts with Cues ...... 172
24.5. Parts Printed Together in a Staff ...... 173
25. BOWED STRING INSTRUMENTS ...... 174
25.1. General Notation ...... 174
25.2. Interpreting Print Roman Numerals ...... 174
25.3. Bowing Marks...... 175
25.4. Fingerings ...... 176
25.5. Arco and Pizzicato ...... 177
25.6. Tremolo ...... 178
25.7. Natural Harmonics ...... 179
25.8. Artificial Harmonics ...... 180
26. FRETTED PLUCKED STRING INSTRUMENTS ...... 181
26.1. Various Print Notation Systems ...... 181
26.2. Interpretation of Staff Notation ...... 181 xi
26.3. Strokes of a Plectrum ...... 182
26.4. Left-Hand Fingering ...... 182
26.5. String Signs ...... 182
26.6. Position Signs ...... 183
26.7. Right-Hand Fingering ...... 184
26.8. Shift Indications ...... 186
26.9. Barré ...... 188
26.10. Harmonics ...... 190
26.11. Arpeggio and Rasgueado ...... 191
26.12. Golpe (Knock) ...... 191
26.13. Interpretation of Chord Diagrams ...... 192
26.14. TAB Notation ...... 196
27. INSTRUMENTAL LEAD SHEETS ...... 197
27.1. Aligning Chord Symbols below Notes and Rests ...... 197
27.2. Separating Measures in Both Lines ...... 198
27.3. Spacing Chord Symbols within a Measure ...... 199
27.4. Spaces in the Music Line ...... 199
27.5. Music Lines without Chord Symbols ...... 200
27.6. Strumming Signs ...... 200
27.7. Guitar Chord Diagrams with Chord Symbols ...... 201
28. INSTRUMENTAL BAR-OVER-BAR FORMAT ...... 202
28.1. General Principles ...... 202
28.2. Repeat Devices ...... 203
28.3. Parallel Movement and Sequence Abbreviation ...... 203
28.4. Adjusting the Format for Various Media ...... 203
29. KEYBOARD INSTRUMENTS ...... 204
29.1. Print Staves vis-à-vis Braille Hand Parts ...... 204
xii
29.2. The Hand Signs ...... 204
29.3. Typical Structure of the Keyboard Music Parallel ...... 204
29.4. Combined Parts and Visiting Hands ...... 214
29.5. Coincidence of Notes ...... 218
29.6. Extended Rest in One Part ...... 219
29.7. Expanding the Parallel to Open Score ...... 219
29.8. Keyboard Accompaniments ...... 220
29.9. Orchestral Reductions for Keyboard ...... 222
29.10. Piano Pedaling ...... 222
29.11. Piano Pedaling and Repeats ...... 224
29.12. Typical Parallel for Organ Music ...... 227
29.13. Organ Foot Signs ...... 229
29.14. Tabulation of Organ Registration ...... 230
29.15. Directions for Organ Registration ...... 231
29.16. Instrument-Specific Annotations ...... 234
29.17. Chord Symbols in Keyboard Music ...... 235
30. FIGURED BASS AND HARMONIC ANALYSIS ...... 238
30.1. Figured Bass ...... 238
30.2. Figured Bass in Horizontal Mode ...... 238
30.3. Figured Bass in Vertical Mode ...... 244
30.4. Harmonic Analysis ...... 247
30.5. Analytical Symbols in Literary Text ...... 251
31. HARPS ...... 252
31.1. Standard Notation ...... 252
31.2. Pitch Settings ...... 252
31.3. Damping of Strings ...... 257
31.4. Special Indication for Fingernail Technique ...... 262
xiii
32. ACCORDIONS ...... 264
32.1. Accordion Notation ...... 264
32.2. Fully Written Bass Part ...... 268
32.3. Draw and Push Markings ...... 268
32.4. Registration ...... 269
33. INSTRUMENTAL ENSEMBLE SCORES ...... 270
33.1. Application of Bar-over-Bar Format ...... 270
33.2. List of Instruments ...... 270
33.3. Page Layout ...... 273
33.4. The Parallel ...... 274
33.5. Dividing a Measure between Parallels ...... 283
33.6. Parallel Movement ...... 284
33.7. Consolidating Identical Parts...... 286
34. PERCUSSION...... 289
34.1. Categories of Print Scores ...... 289
34.2. Typical Braille Transcription ...... 290
34.3. Ornaments ...... 293
34.4. Special Note Shapes ...... 294
34.5. Pictographs ...... 296
34.6. Hand Signs for Percussion ...... 297
34.7. Drum Kit Transcriptions ...... 297
PART III. VOCAL MUSIC ...... 299
35. SOLO SONGS AND CHORAL PARTS ...... 299
35.1. Principles of Line-by-Line Format ...... 299
35.2. Syllabic Slurs ...... 301
35.3. Syllables Carried between Parallels ...... 302
35.4. Repeat Sign for Words or Phrases ...... 305 xiv
35.5. Syllables Merged in One Note ...... 306
35.6. Texts in Two or More Languages ...... 307
35.7. Multiple Verses ...... 309
35.8. Braille Repeat Devices in Vocal Music ...... 312
35.9. Measure Numbers and Rehearsal References ...... 312
35.10. Parts Extracted from Choral Scores ...... 313
35.11. Chants, Canticles, and Recitatives ...... 314
35.12. Vocal Compass and Transposed Key...... 315
36. CHORD SYMBOLS WITH LYRICS ...... 316
36.1. Expansion of Parallel to Include Chord Symbols ...... 316
36.2. Adjustment of Spacing of Words ...... 317
36.3. Alignment of Chord Symbols below Lyrics ...... 318
36.4. Chord Symbols and Lyrics Alone ...... 327
36.5. Chord Changes in Strophic Songs ...... 327
37. CHORAL ENSEMBLES ...... 329
37.1. Expanded Bar-over-Bar Format ...... 329
37.2. All Parts Having the Same Words ...... 330
37.3. Parts Having Different Words ...... 331
37.4. Lyrics in Two Languages ...... 333
37.5. Temporarily Divided Part ...... 334
37.6. Parallel Requiring More Than One Braille Page ...... 336
38. MUSIC DRAMA ...... 337
38.1. Vocal Scores and Extracted Solo Parts ...... 337
38.2. List of Characters...... 337
38.3. Stage Directions ...... 339
38.4. Relaxing Rules in Nonfacsimile Transcriptions ...... 340
38.5. Cues following Extended Rests ...... 341
xv
PART IV. APPENDIX: FORMATS NOT CURRENTLY IN USE IN BANA COUNTRIES ...... 343
39. LINE-OVER-LINE ...... 344
39.1. Differences from Bar-over-Bar Format ...... 344
39.2. Stave Numbering ...... 346
39.3. Unmeasured Passages ...... 346
40. SECTION-BY-SECTION ...... 347
40.1. Format of a Section ...... 347
41. VERTICAL SCORE AND BAR-BY-BAR ...... 352
41.1. Historical Background ...... 352
41.2. Vertical Score ...... 352
41.3. Bar-by-Bar ...... 354
42. SUBSTITUTION ...... 359
42.1. Substitution Device ...... 359
43. NOTE-FOR-NOTE ...... 361
43.1. Note-for-Note Method ...... 361 43.2. Changes of Meaning of Music Braille Signs ...... 365
INDEX OF SIGNS ...... 367
GENERAL INDEX ...... 387
xvi
ACKNOWLEDGMENTS
The Committee gratefully acknowledges the contributions of Christina Davidson, Ruth Rozen, and Richard Taesch, who joined in the effort as consultants. Their special knowledge of string instrument notation, along with their expertise in music braille transcription, has been invaluable. The Committee is also grateful to Pauline Leung, who reviewed and performed the initial complete proofreading of the musical examples contained within this document; the anonymous participants in the BANA technical review, whose comments resulted in many improvements in clarity; Heidi Lehmann and again Tina Davidson and Ruth Rozen, for their painstaking reviews of the first drafts of the General Index; and our colleagues on four continents, whose opinions were central to forming the BANA policies on the use of Unified English Braille in the music context.
xvii
PREFACE
This edition of Music Braille Code has two main objectives. First, at the time of the previous edition reference documents were almost exclusively used in print; now they are used both in print and in various electronic media. This revision has been structured to facilitate its use in electronic media. Second, while the international agreements of 1992 through 1997 defined the meanings of braille signs, they left most matters of format to the discretion of the various countries. The 1997 edition brought the BANA code into line with those agreements. Very few rules and procedures established in that edition are amended in this one. This edition is intended to extend consistent guidance regarding format. Where appropriate, rules and procedures have been adjusted to comply with the adoption of The Rules of Unified English Braille and of Braille Formats: Principles of Print-to-Braille Transcription. A section about transcribing music for harps, which is not included in the 1997 BANA code, has been added. It incorporates some signs that are not defined in either that work or in the New International Manual of Braille Music Notation. The content of this addition will be offered for consideration whenever a new worldwide conference may be convened with the purpose of updating the international agreements. The Committee hopes that this reordering of the content and the relocation of signs in the tables will prove more helpful than troubling to veteran users, and will be convenient for new transcribers and readers. Lawrence R. Smith
xviii
FOREWORD TO THE MANUAL OF BRAILLE MUSIC NOTATION, AMERICAN EDITION, 1988
The history of the development of the braille music code is a chronicle of the various code books that have been issued, of the workings of the committees which have prepared them and, not least of all, of the consultations with readers and transcribers of braille music scores. The present volume is the sixth in a series of manuals, and the date in its title marks the 100th anniversary of the first such key, Braille Notation, The Cologne Key of 1888. Louis Braille completed the work on his elementary system of notation around the year 1834, but it was not officially adopted until 1852, the year of his death. In 1885, a committee was formed, composed of braille music experts from England, Germany and France, which met in Cologne, Germany, to establish some degree of uniformity of signs and rules of application. The Cologne Key was the result of this convocation. Subsequent manuals included the following: Revised Key to Braille Music Notation, published by the Royal National Institute for the Blind in 1922; Key to Braille Music Notation, by L. W. Rodenberg, published in 1925; Braille Music Notation, based on the decisions of the Paris International Conference of 1929; and finally, Revised International Manual of Braille Music Notation, 1956, by H. V. Spanner, this last volume being the product of the third International Conference which was sponsored by the United Nations Educational, Scientific and Cultural Organization. Each of these volumes has been an attempt to clarify and expand the code and to establish as much uniformity of presentation as could be achieved. The first book was 32 braille pages in length and that of the 1956 volume was 302; thus, one can readily see that a great deal of expansion has taken place. This has been brought about by three principal factors - innovations in print usage, changes in the popularity of various kinds of musical practice, in general, and a broader use of musical scores by the braille reading population. The change in musical practice may be xix illustrated by pointing to the single paragraph in the 1888 Key on zither music as compared to the extended section on guitar music in the present volume. A standing music committee was appointed by the American Braille Authority in the early 1960's for the purpose of clarifying questions about the code and proposing new signs and formats as the need arose. This committee, first under the chairmanship of Edward Jenkins and subsequently under the chairmanship of John diFrancesco, developed the 1975 American Addendum. Still under Mr. diFrancesco's able guidance, a newly formed committee compiled the 1981 American Addendum, thanks to the efforts of Dr. Marjorie Hooper and the Florida State University at Tallahassee. This pamphlet was devoted primarily to music for guitar, short-form scoring (American style) of popular music and a newly devised method for transcribing figured bass. Also written during this period was Introduction to Braille Music Transcription, Library of Congress, 1970 by Mary Turner De Garmo. The present book includes the contents of the two addenda, corrections and alterations of the 1956 Manual and previously unpublished material dealing with special signs in Twentieth Century scores, percussion music and vocal ensemble music in more than one language. An expanded index has also been provided. In 1979 the newly organized Braille Authority of North America appointed George Bennette as Chairman of its Braille Music Technical Committee and the remainder of the membership consisted of Mrs. Sandra Kelley, Mrs. Bettye Krolick, Mr. Thomas Ridgeway and Mrs. Ethel Schuman. No doubt, someday this book will be superseded by yet another Revised Manual of Braille Notation. One can only hope there will be enough activity to warrant it, but in the meantime, we trust this volume will be serviceable to the transcribers and readers of braille music for at least a generation. GEORGE BENNETTE Chairman, Braille Music Technical Committee of BANA November, 1987 xx
SUMMARY OF RULE CHANGES
Only rules that have actually been changed are included in this list. Many rules have been elaborated upon or are more fully illustrated than in the previous edition, and a number have been added.
MBC- MBC- Change 1997 2015 G.T. 1.16 “Etc.” is deleted from list of signs that Note 5 cancel music notation in literary context 3.2 4.2 Dot 3 is required if clef sign is followed by cell containing dot 1, 2, or 3 5.3 6.2 Restatement of accidental not required at beginning of run-over line 5.8 6.4 UEB signs for accidentals are used in literary context 8.7.4 9.3.1, Doubling may be started at bottom of 22.1.1 page when there are three consecutive instances 9.8 13.10.2 Same sign used for all curved lines that do not lead to notes 12.5 13.6.1 Continuation sign indicates continuation of part-to-part slur 12.6.1 13.6.2, Applies to any ambiguous transfer; 13.6.3 “terminator” changed to “continuation” 12.9 13.9 Appoggiatura slurs are always included 16.21.2 20.1.4 Number of measures not required following segno 16.21.8 Reference to marginal star to locate segno is deleted 17.4-1 21.1 Music asterisk is not excluded from bar- over-bar alignment xxi
MBC- MBC- Change 1997 2015 18.3 21.1 Music asterisk with or without letter/number is followed by dot 3 if next sign contains dot 1, 2, or 3; no “letter sign” before letter 19.3.1 1.5.2 First note after any page turnover requires an octave mark 19.8 1.15 Errors in print may be corrected in nonfacsimile braille 20.2, Reference to section-by-section method is 20.3 deleted 20.7.3 29.10.1(d) Modified piano pedal-up sign follows rather than precedes the note 22.13 35.8 Backward-numeral repeats are allowed within the same parallel in vocal music 22.16 35.5 Merged syllables may be indicated even if not so marked in print 22.17 35.6.1 Difference of slurring between languages identified by “finger” signs 22.19 Reference to mute syllables in French is deleted 22.23 29.8 Inclusion in solo outline of other essential marks such as fermatas is permitted 22.24 35.12 Blank line must separate vocal compass from music heading 22.28(c) Use of dot-4 accented letters is discontinued 22.36 Numbers of print staves are not included 22.38.1 38.2 Two-letter abbreviations are permitted in list of character names
xxii
MBC- MBC- Change 1997 2015 22.38.1 38.2 Use of single letters c, d, f, and p as abbreviations of character names is prohibited 23.10 25.7 Reference to alternative fingered or open string is deleted, and reference to diamond-shaped note head for natural harmonic is added 24.10 36.1 Spacing device -- may be used at beginning of word line in lyrics with chord symbols 24.13.3 36.3.2 Spacing device -- may be used at beginning of word line in lyrics with chord symbols 24.17 36.3.6 The phrase “no words” is italicized or fully capitalized to show that it is not sung 24.19 29.17.1 Alignment of chord symbols and notes within measure is permitted 24.20 27.1–27.5 Alignment of chord symbols and notes in lead sheets is described in detail 24.23 36.1.1 Only applicable paragraphs are required in Transcriber's Notes page describing lyrics with chord symbols 25.5 32.1.1 Row sign in accordion music remains in force until it is contradicted, a new braille line occurs, or it follows an interruption 26.4 33.2 Separate page is not required for list of instruments in instrumental ensemble score 26.17 33.4.3 Braille segno and da capo are permitted in instrumental ensemble score
xxiii
MBC- MBC- Change 1997 2015 26.23 33.2 List of instruments is given in a two- column table in ensemble score 27.17 30.3(k) A blank line is required between parallels with figured bass in vertical mode 28.5 2-cell alignment adjustment no longer permitted
xxiv
TABLES OF SIGNS
Signs marked with an asterisk (*) are new in this edition and must be listed on the Special Symbols page or identified in transcriber's notes in each transcription in which they are employed.
1
BASIC SIGNS
Table 1. General Signs (Pars. 1.1–1.16)
Music parentheses ,' ,' * Special parentheses 7 7 Print pagination indicator "3 “Equals” in metronome or equivalency indications 7 Print bar line (space) Print dotted bar line k Bar line for unusual circumstances l Final double bar Table 2. Notes and Note Values (Pars. 2.1–2.6) Throughout this work: whole note = semibreve; half note = minim; quarter note = crotchet; eighth note = quaver. C D E F G A B Whole or 16th note Y Z & = ( ! ) Half or 32nd note N o p q r s t Quarter or 64th note ? : $ ] \ [ W 8th or 128th note D E F G H I J 256th note ;<1y etc. Breve (double whole) (a) Yk zk &k =k (k !k )k Breve (double whole) (b) y^cy etc. Reciting note in chant Yk etc. Dot for added value ' Value signs: 8ths and larger ^<1 16ths and smaller ,<1 256th notes ;<1 Prefixes for specially shaped notes: Solid note head only 5a X-shaped note head 5b Diamond-shaped note head 5l Indeterminate or approximate pitch 5k Approximate pitch at end of slanted line 5' 3 Table 3. Octave Marks (Pars. 3.1–3.3.2) First octave @y Sixth octave C ;y C Second ^y Seventh octave ,y octave C C Third _y A below first @@! octave C octave Fourth "y C above ,,y octave C seventh octave Fifth octave .y C Table 4. Clef Signs (Pars. 4.1–4.5) G clef (treble) >/l F clef (bass) >#l C clef (alto) >+l G clef on first line (French violin) >/@l F clef on third line (baritone) >#_l C clef on fourth line (tenor) >+"l G clef with small 8 above >/l#h G clef with small 8 below >/l#8 Modified bass clef in right-hand part >#k Modified treble clef in left-hand part >/k 4 Table 5. Rests (Pars. 5.1–5.4) Whole rest or 16th m Half rest or 32nd u Quarter rest or 64th v 8th rest or 128th x 256th rest ;<1m Dot for added value ' Breve (double whole) rest (a) mk Breve (double whole) rest (b) M^cm Table 6. Accidentals and Key Signatures (Pars. 6.1–6.5.1) Sharp % Double sharp %% Flat < Double flat << Natural * Quarter step accidental @% @< Three-quarter step accidental _% _< Prefix for accidental printed above or below note , Three sharp signature %%% Three flat signature <<< Four sharp signature #d% Four flat signature #d< 5 Table 7. Meter Indications and Time Devices (Pars. 7.1–7.2.3) #d4 Four-four time Six-eight time #f8 Common time .c Alla breve (cut time) _c Numeral over note value #d,'? Signature with two or #b+c4 more upper numerals Combined time signature #c4#i8 Combined time signature #c4+#i8 with plus sign Combined time signature #c4,'#i8,' with parentheses One second ^ Two seconds, etc. ^#b Ten seconds, etc. ^#aj Extension of time -- Table 8. Irregular Note Grouping (Pars. 8.3–8.6) Braille music comma <1 Terminal braille music comma <1' Single-cell sign for triplet 2 Three-cell sign for triplet _3' Group of two notes, etc. _2' Group of ten notes, etc. _10' 6 Table 9. Intervals (Pars. 9.1–9.5.3) For intervals larger than an octave see Pars. 9.1.1 and 9.3.4. Second / Sixth 0 Third + Seventh 3 Fourth # Octave - Fifth 9 Tone cluster: with naturals ^*b with flats ^ Table 10. The Tie (Pars. 10.1–10.3) Tie between single notes @c Two or more ties between chords .c Accumulating arpeggio ^c 7 Table 11. In-Accord and Measure-Division Signs (Pars. 11.1–11.4) Full-measure in-accord <> Part-measure in-accord "1 Measure division .k Table 12. Stem Signs (Pars. 12.1–12.4) Whole “stem” _' 8th stem _b Half stem _k 16th stem _l Quarter stem _a 32nd stem _1 8 Table 13. The Slur (Pars. 13.1–13.10.2) Simple short slur c Doubled long slur Cc c Bracket long slur ;b ^2 Convergent short slurs ,c Convergent long slurs (bracket) ;b^2 Slur from part to part _c Long slur from part to part _cc _c * Continuation of part-to-part ._c slur Transfer of slur between staves "c Destination of slur transferred "c' between staves Straight line between staves @l End of straight line between .@l staves The half phrase @2 Slur for short appoggiatura ;c (facsimile) Slur that does not come from a .;c note Slur that does not lead to a note ;c 9 Table 14. Tremolo (Pars. 14.1–14.3) Note and chord repetition in: 8ths ^b 16ths ^l 32nds ^1 64ths ^k 128ths ^' Alternation of notes or chords in: 8ths .b 16ths .l 32nds .1 64ths .a 128ths .' 10 Table 15. Fingerings (Pars. 15.1–15.4.1) First finger a Fourth finger 1 Second finger b Fifth finger k Change of Third finger l c fingers Alternative fingerings: Omission of first fingering , Omission of second fingering ' 11 Table 16. Ornaments (Pars. 16.1–16.8) (A) Appoggiaturas (Pars. 16.2–16.2.3) Long appoggiatura "5 Short appoggiatura 5 (B) Trills and Turns (Pars. 16.3–16.4.2) Trill 6 Inflected trill <6 %6 Turn between notes 4 Turn above or below a note ,4 Inverted turn between notes 4l Inverted turn above or below note ,4l Turn with inflected upper note %4 <4 Turn with inflected lower note ,%4 ,<4 Turn with both notes inflected <,%4 12 (C) Mordents (Par. 16.5) Upper mordent "6 Extended upper mordent ;6 Lower mordent "6l Extended lower mordent ;6l Inflected upper mordent %"6 <;6 Inflected lower mordent %"6l <;6l (D) Glissando (Pars. 16.6–16.6.4) Straight or wavy line between successive notes @a (E) Ornaments Derived from Jazz Idioms (Par. 16.7) Rising curved line before the note <'c Rising straight or wavy line before the note <'@a Small inverted arch above the note 13 (F) Unusual Ornaments (Par. 16.8) Extended upper mordent: preceded by a turn 4;6 preceded by an inverted turn 4l;6 followed by a turn ;64 followed by an inverted turn ;64l preceded by a descending curve @;6 followed by a descending curve ;6' preceded by an ascending curve ,;6 followed by an ascending curve ;6a followed by a curve between ;6@a two adjacent notes (slide) Descending curve preceding a note @5 Ascending curve preceding a note ,5 Upward-pointing wedge between ,c two adjacent notes (Nachschlag) Downward-pointing wedge between c' two adjacent notes (Nachschlag) Short curve between ,c' two adjacent notes (passing note) Short thick line between "c1 two adjacent notes (anticipation) 14 Short oblique stroke through a chord 5>k (chord acciaccatura) Curve and dots above or below a note @8888 (Bebung: the number of dots in the print regulates the number of staccato signs.) Table 17. Print Repeats (Pars. 17.1–17.3) Double bar followed by dots <7 Double bar preceded by dots <2 Prima volta (first ending) #1 Seconda volta (second ending) #2 Continuous wavy or spiraling line 57 for aperiodic repetition Table 18. Braille Full- and Part-Measure Repeats, Parallel Movement, and Sequence Abbreviation (Pars. 18.1–18.7.2) Measure or part-measure repeat 7 Separation of part-measure repeats of different value ' Parallel movement - Sequence abbreviation - Sequence abbreviation in facsimile -' Isolation of repeated passage in unmeasured music *7 15 Table 19. Braille Numeral Repeats (Pars. 19.1–19.7) Conjunct backward-numeral repeat #b Disjunct backward-numeral repeat #e#d Single measure-number repeat #2 Inclusive measure-number repeat #2-4 Table 20. Da Capo and Dal Segno Repeats (Pars. 20.1–20.3) Print da capo or D.C. >d'c'> Braille-only da capo >dc'> Print segno + Braille-only segno (with letter) +a Braille-only dal segno (with letter) "+a "+b etc. End of braille-only segno passage * Print encircled cross (coda sign) +l Table 21. Annotations and Variants (Pars. 21.1–21.6.2) Music asterisk >59 Footnote separator (full line) 33333 Music parentheses ,' ,' * Special parentheses 7 7 Notes printed in large type ;5 Notes printed in small type ,5 Variant indicator 5 Variant indicator with numeral 5#a 5 Prefix for editorial marking "l 16 Table 22. Nuances (Pars. 22.1–22.4.1) (A) Symbols That Precede the Note (Pars. 22.1–22.1.1) Dot above or below a note (staccato) 8 Pear-shaped dot above or below a note ,8 (staccatissimo) Dot and short line above or below note "8 (mezzo-staccato) Short line above or below a note (agogic _8 accent or tenuto) Thin converging horizontal wedge (accent) .8 * Extended converging horizontal wedge ^8 associated with one note (expressive accent) Thin diverging horizontal wedge (reversed @8 accent) Thick inverted or normal V (martellato) ;8 Vertical wavy line or curve in one staff >k (upward arpeggio) Upward arpeggio through two staves ">k Downward arpeggio in one staff >kk Downward arpeggio through two staves ">kk Diverging and converging horizontal *' wedges (swell on one note) 17 (B) Symbols That Follow the Note (Par. 22.2) Fermata (hold or pause): over or under a note between notes " above or below a bar line _ above or below a sectional tent-shaped ^ Breath or break mark (a) >1 Breath or break mark (b) ,/ 18 (C) Words and Abbreviated Words (Pars. 22.3–22.3.9) Braille word sign > Mark (period) of abbreviation ' pp >pp p >p mf >mf f >f ff >ff cresc. >cr' decresc. >decr' dimin. >dim' * L.V. >lvb' Diverging hairpin and terminator >c >3 Converging hairpin and terminator >d >4 Line of continuation and terminator '' >' (first) Line of continuation and terminator -- >- (second) (D) Special Beams (Pars. 22.4–22.4.1) Diverging beams (accelerando) ^<1,<1 Parallel beams within unusual group ,<1,<1 Converging beams (ritardando) ,<1^<1 Termination of special beams ;k 19 Table 23. Chord Symbols (Pars. 23.1–23.2) Natural * Flat < Sharp % Plus + Minus - Circle (diminished) 4 Circle bisected by a line (half diminished) 4' Triangle 0 Triangle bisected by a line 0' Italic 7 for a specialized seventh chord .#g Slash / * Parentheses 7 7 * NC or N.C. (for “no chord”) ,,nc * Tacet or Tacet. ,Tacet 20 SIGNS FOR INSTRUMENTAL MUSIC Table 24. String Instruments (A) General Signs String numbers: 1st %a 5th %k 2nd %b 6th %2 3rd %l 7th %' 4th %1 Positions and frets: 1st >> 8th >- 2nd >/ 9th >-/ 3rd >+ 10th >-+ 4th ># 11th >-# 5th >9 12th >-9 6th >0 13th >-0 7th ,>3 half >>/ Shift or glide @a Left hand fingerings: Index finger a Second finger B Third finger L Fourth finger 1 Open string k Harmonics: Natural harmonic k Artificial harmonic *l 21 (B) Signs for Bowed String Instruments Left-hand thumb *k Down-bow Up-bow <' Left-hand pizzicato _> Arco >arco 22 (C) Signs for Fretted Plucked String Instruments Plectrum up-stroke <' Plectrum down-stroke Right-hand thumb fingering (pulgar) P Right-hand first finger (indice, index) I Right-hand second finger (medio, middle) M Right-hand third finger (anular, ring) A Right-hand fourth finger (chico, little) C Right-hand fourth finger (ch abbreviation) x Single shift or glide @a Start extended shift @a' End extended shift ,@a Grand or full barré _ Half or partial barré ^ Bracket barré (full or partial) @ Rhythmic strumming / Mute or damp in guitar diagram ' 23 Table 25. Keyboard Instruments Right hand .> Right hand, intervals read upward .>> Left hand _> Left hand, intervals read downward _>> Solo outline "> Organ pedals ^> Coincidence of notes ;2 Piano damper pedal Pedal down Pedal up *c Pedal up and down on one note * Half pedal " Pedal down immediately after strike , Pedal up immediately after strike "*c Organ feet Left toe a Left heel B Right toe L Right heel 1 Change of feet, L to R, toe to heel, etc. C Change without indication of toe or heel K Crossing of foot in front @k Crossing of foot behind ,k Start left hand and pedal in same staff (facsimile) ^>_> Return to left hand only in staff (facsimile) @> Suppression of organ registration 9 24 Table 26. Figured Bass and Harmonic Analysis * Lowercase indicator ; Sign for figured bass ;> Natural * Flat < Sharp % Circle (diminished) 4 Circle bisected by a line (half diminished) 4' Triangle 0 Triangle bisected by a line 0' Slash / Plus + Plus sign replacing figure #+ Isolated accidental #*k # 25 Table 27. Harps * Prefix for pedal diagram >- * Left/right separation in pedal diagram l * High pedal position b * Middle pedal position 1 * Low pedal position 2 * Pedal position unchanged k * Damped *c * Damp after sounding "*c * Damp all sound *c*c * Damp below specified pitch **c * Not damped 26 Table 28. Accordions Button-row notation sign ,> First button row (dash below note) @ Second button row (no indication) ^ Third button row (1 or M) _ Fourth button row (2 or m) " Fifth button row (3, 7, or S) . Sixth button row (4 or d) ; Draw (V pointing left) bs' Register >r' Without register >sr' Registration 4 ft. >#d' 8 ft. >#h' 16 ft. >#af' 4 ft. 8 ft. 16 ft. >#d#h#af' 4 ft. 8 ft. >#d#h' 8 ft. 16 ft. >#h#af' 4 ft. 16 ft. >#d#af' Tremolo >#h/' Small circle above (high tremolo) %/ Small circle below (low tremolo) 27 Table 29. Abbreviations for Instrument Names (A) English Piccolo >pc' Kettledrums >dr' Flute >fl' Cymbals >cym' Oboe >o' Triangle >tri' English horn >eh' Snare drum >sdr' Clarinet >cl' Bass drum >bdr' Bass clarinet >bcl' * Harp right hand >hr' Bassoon >b' * Harp left hand >hl' Double bassoon >bb' * Piano right hand >pr' * Piano left hand >pl' Horn >hn' Trumpet >tp' Violin I >v1' Trombone >tb' Violin II >v2' Tuba >tu' Viola >vl' Violoncello >vc' Double bass >db' 28 (B) Italian Flauto piccolo >pc' Timpani >tim' Flauto >fl' Piatti >pi' Oboe >o' Triangolo >tri' Corno inglese >ci' Tamburo militare >tbm' Clarinetto >cl' Gran cassa >gc' Clarinetto basso >bcl' * Arpa mano destra >ad' Fagotto >fg' * Arpa mano sinistra >as' Contrafagotto >cfg' * Piano mano destra >pd' * Piano mano sinistra >ps' Corno >cn' Tromba >tr' Violino I >v1' Trombone >tb' Violino II >v2' Tuba >tu' Viola >vl' Violoncello >vc' Contrabasso >cb' 29 (C) French Petite flûte >pfl' Timbales >tim' Grande flûte >fl' Cymbale >cym' Hautbois >hb' Triangle >tri' Cor anglais >ca' Caisse claire >ccl' Clarinette >cl' Grosse caisse >gc' Clarinette basse >bcl' * Harpe main droite >hd' Basson >b' * Harpe main gauche >hg' Contrebasson >bb' * Piano main droite >pd' * Piano main gauche >pg' Cor >cor' Trompette >tp' Violon I >v1' Trombone >tb' Violon II >v2' Tuba >tu' Alto >vl' Violoncelle >vc' Contrebasse >cb' 30 (D) German Kleine Flöte >kfl' Pauken >pk' Grosse Flöte >fl' Becken >bk' Oboe >o' Triangel >tri' Englisches Horn >eh' Kleine Trommel >kt' Klarinette >kl' Grosse Trommel >gt' Bassklarinette >bkl' * Harfe rechte Hand >hr' Fagott >fg' * Harfe linke Hand >hl' Doppelfagott >dfg' * Klavier rechte Hand >khr' * Klavier linke Hand >khl' Horn >hn' Trompete >tp' Violine I >v1' Posaune >pos' Violine II >v2' Basstuba >tu' Bratsche >br' Violoncello >vc' Kontrabass >kb' 31 Table 30. Wind Instruments and Percussion Percussion right hand l Percussion left hand a * Special note shape for unpitched instruments (1) % * Special note shape for unpitched instruments (2) < * Special note shape for unpitched instruments (3) * Cross above or below note for wind instrument 32 SIGNS FOR VOCAL MUSIC Table 31. Signs in Music Lines Soprano identifier >s' 1st soprano identifier >s1' 2nd soprano identifier >s2' Alto identifier >a' Tenor identifier >t' Bass identifier >b' Single syllabic slur C Doubled syllabic slur cc c Phrasing slur ;b ^2 Slur for variation of syllables between verses _c Slur in first language ca Slur in second language cb Portamento @a Two syllables on one note B Three syllables on one note L Verse number #1 #2 Warning sign for divided part / Full breath ,/ Half breath >1 33 Table 32. Signs in Word Lines Soprano identifier S' 1st soprano identifier S1' 2nd soprano identifier S2' Alto identifier A' Tenor identifier T' Bass identifier B' Repetition of word or phrase 9 9 Two repetitions 99 9 Three or more repetitions #c9 9 Grouping of vowels or syllables 8 0 Bracket for text of reciting note "8 01 Pointing symbol in text 95 34 SIGNS FOR METHODS NOT IN USE BY BANA Table 33. Section-by-Section Change of staves 3l Table 34. Vertical Score and Bar-by-Bar (A) Vertical Score Two or more parts on one note l Senza ped. @> Melody of hymn only >mel' Complete music text of hymn >h' (B) Bar-by-Bar Bar line l Multiple-measure repeats 7#b Table 35. Substitution Start substitution (e.g., 16ths from second octave upward) ^%l Table 36. Note-for-Note Subnotes 4 5 6 7 8 9 0 Separation sign - Moving-note , Acciaccatura / Appoggiatura ,/ Turn between notes ;/ Turn above note _/ Full or part-measure repeat + Initial irregular grouping # Trill and mordents 3 "3 ;3 "3l ;3l Staccatos, accents, etc. - ,- "- ;- .- _- 35 PART I. BASIC SIGNS 1. GENERAL PROCEDURES AND SIGNS (Table 1) 1.1. Facsimile and Nonfacsimile Transcription Print music notation is graphic; music braille is narrative. A music braille transcription may or may not include signs that represent elements of notation that are necessary to reading the score in print but not necessary in the braille. Such signs include clefs, ottavas, and arbitrary variation in type size. A transcription that includes the braille representations of those signs is termed “facsimile”; a transcription that omits them is termed “nonfacsimile.” In general, facsimile transcriptions are provided only for blind teachers of sighted students and others who specifically request facsimile. Nonfacsimile transcription is the usual practice. Every transcription should state on the Transcriber’s Notes page whether it is facsimile or nonfacsimile. 1.2. Use of English Contractions By international agreement, literary braille contractions are not generally employed in music transcriptions. However, contractions may be used in English lyrics for chants, hymnals, and school materials for grades K–6. At the transcriber’s discretion, the literary portions of a publication, including titles, composers’ and arrangers’ names, running heads, dedications, introductions, contents pages, copyright notices, etc. may be contracted when they are in English. However, contractions must not be used in English literary passages or phrases that directly affect musical interpretation, such as music headings, terms of tempo or mood, word-sign expressions, and transcriber’s notes. 1.2.1. Contracted English Braille in Lyrics When, as noted above, contractions are used in English lyrics for chants, hymnals, and school materials for grades K–6, or by special request for a client, they are brailled according to the current edition of The Rules of Unified English Braille, with the following exceptions: 36 (a) Because of their special functions under the music code, the contractions for “in” 9 and “ar” > may not appear as the first or last sign of a symbols-sequence. The “in” contraction may be used when it represents the whole word “in” and is preceded and followed by spaces. (b) When, in such lines of lyrics, a word or number is to be shown italicized or fully capitalized to show that it is not to be sung, it is preferable to fully capitalize rather than to italicize. If such lyrics include italics and full capitalization, some other symbol of emphasis should be used and explained in the Transcriber's Notes page. 1.3. Parentheses Three kinds of braille parenthesis markings are used in music transcriptions. Literary (Unified English Braille) parentheses "< "> are employed in ordinary literary context. Music parentheses ,' ,' are used when parentheses occur within music. Special parentheses 7 7 are used in chord symbols, music headings, and word-sign expressions to represent parentheses appearing in print. There are two specific exceptions to the general principle that parentheses should not be added in braille where there are none in print. (See Par. 1.8.1 regarding metronome or equivalency markings within music, and Par. 35.7 regarding numbering of verses following the music in a strophic song.) 1.4. Preliminary Pages Preliminary pages are brailled according to the procedures given in the current edition of Braille Formats: Principles of Print-to- Braille Transcription, with the following exceptions: (a) To facilitate international exchange of music transcriptions, all title pages must be written entirely in uncontracted braille. This requirement includes title, composer, publisher, and all other information that appears on the title page. (b) The music formats (methods) employed in the score must be clearly stated on the title page. 37 (c) Both print and braille page numbers are placed in line 1 of each braille page. Running and inclusive print pages, where they are required, are placed at the left, and the running braille page numbers with t (transcriber) and p (print) are placed at the right. (d) When symbols from two or more different braille codes or special categories are to be included on a Special Symbols page, a separate list such as “Music Braille,” “Unified English Braille,” or “Spanish Language Symbols” should be given for signs from each code or category. Each list is preceded by an appropriate cell-5 heading. (e) When a Contents page is included, the print page numbers are replaced by the appropriate braille page numbers. 1.5. Pagination of Music Pages Beginning with braille page 1, the running braille page number appears at the right margin of the top line of each braille page. Print pagination, together with related turnovers, must be shown in facsimile transcription; it is generally advisable to show print pagination in nonfacsimile transcription as well, especially in any ensemble music or in accompanied solo pieces. When it is shown, the print page number, preceded by the pagination indicator "3 is indicated at the upper left margin of every braille page beginning with braille page 1, and this applies to both sides of the sheet in interpoint braille. The print pagination must be separated from the title or running head by at least three spaces. Example 1.5-1. "3#C 1.5.1. Inclusive Print Pagination When music from two or more consecutive pages is included in one braille page, the inclusive print pages are given in the upper left corner of the braille page. The two numerals, showing the first and last print pages, are separated by a hyphen, with the pagination sign introducing the device, and one numeric indicator serving both numbers. If the braille page includes print pages that are not consecutive, the exact numbers of the included print pages should be given in the order in which they occur. It is not 38 necessary to restate the pagination indicator for each number or pair of numbers, and it is not necessary to separate the numbers with punctuation. Example 1.5.1-1. "3#C-E Example 1.5.1-2. "3#AG-BB #D-I 1.5.2. Print Page Turnover Indication The turnover sign, the same sign as the pagination indicator, should be written between spaces where the page turn occurs in the music. If the braille page encompasses portions of more than two print pages, the turnover sign should be followed immediately by the appropriate page number at the point of each page change. In keyboard or other multilineal format, the turnover must be shown in each music line. In line-by-line vocal music, each turnover (always including prefix and page number) should appear only in the music line(s). Print pagination and turnovers should be shown in the accompaniment as well. The first note after a turnover indication requires an octave mark. Example 1.5.2-1. Single-line format _?:$] "3 _\[W? _?:$] "3#g _\[W? Example 1.5.2-2. Bar-over-bar format .>"?:$] "3 "\[W? _>_TS "3 _Rn .>"?:$] "3#g "\[W? _>_TS "3#g _Rn Example 1.5.2-3. Line-by-line format LAND OF THE FREE1 AND THE HOME OF THE "?'CEFG "3#B "RDE $'G: 39 1.6. The Page Heading On all braille pages other than the title page and braille page 1, a running title is centered between the two page indications. If, after all efforts to condense it, the running title, with at least three blank spaces on each side, cannot be fitted between the page numbers, the inclusive print pagination is moved to the beginning of the second line. The remainder of that line must be left blank. Example 1.6-1. Running head centered "3#C-E ,BRAHMS1 ,OP4 #DD-#C #B Example 1.6-2. Print pagination dropped to second line ,BRAHMS ,VIOL9 ,SONATA ;,G MAJ4 #IB "3#AJJ-AJD 1.6.1. Title on Braille Page 1 On braille page 1, the title of the work is brailled as a literary heading, centered between the page margins without regard for differences in the length of the print and braille page-number indication. 1.7. The Music Heading The tabulation of directions for style and pace, along with metronome indications and the key and time signatures, is different in braille from that in print. The combination, which is referred to as the music heading, is centered in all formats. A blank line must precede the initial music heading of a composition, movement, or part unless the heading appears at the top of the braille page immediately following the running head. No blank line is inserted between the music heading and first line of music text. Subsequent sectional music headings are brailled without a blank line either before or after, except in ensemble scores, where specific rules apply. (See Par. 33.3.) (a) The textual directions are given first, in uncontracted braille. Capitalization and punctuation follow print, except that the special parenthesis sign is employed and the text is terminated by a literary period if no terminal punctuation is present in the print. 40 In an English context, accented letters are brailled in Unified English Braille. The alphabet and accented letter signs of the original language are used in vocal music and when a publication is entirely printed in a foreign language. (b) The metronome marking, if there is one, is given after a blank space, and the key and time signatures together ensue after another blank space. (c) If there is not room for the entire music heading centered on the line with at least three blank cells on each side, the metronome marking and signatures are centered on the following line. Example 1.7-1. Heading centered in one line ,ALLEGRO4 ?7#ABJ %%#B4 Example 1.7-2. Metronome marking and signatures in second line (English context) ,pi^*u lento E APPASSiONATO4 ?7#DH #D<#C4 Example 1.7-3. Lengthy directions divided between lines ,ANDANTE CANTABILE,- CON ALCUNA LICENZA4 %%#AB8 Example 1.7-4. Special parentheses ,moderately fast 7not rushed74 #f8 1.8. Metronome Indications The metronome indication in braille is an imitation of print usage. The note value (of indefinite pitch in the print) is written as C in the required value; the sign 7 represents the “equals” sign and the metronome setting is written with a single numeric indicator. The order is occasionally varied in print, the number being given before the note, and the braille should follow print. Parentheses that enclose the metronome marking in print are omitted in braille. Where the word “circa” or its equivalent in any language occurs, it should be placed before the metronome mark, whatever may be done in the print. 41 Example 1.8-1. N7#HJ Example 1.8-2. #GB7? Example 1.8-3. ?'7#AJD-aab Example 1.8-4. CIRCA ?7#FJ Example 1.8-5. CA4 ?7#FJ Example 1.8-6. ABOUT ?7#fj 1.8.1. Metronome or Equivalency Marking within Music When a metronome marking is printed in the progress of the music, it is included in the music line(s) between spaces in the same manner as a change of key or time signature. A notation of equivalency of note values shown with an equals sign is treated similarly. It is advisable to enclose these markings between music parentheses, whether or not parentheses are included in the print, to prevent them from being mistaken for true notes in the music lines. Example 1.8.1-1. #c4 .$>rit'.edij ,'?7#fj,' .?]@c=fed Example 1.8.1-2. #D4 "! #C2 ,'?7?,' "RQP 42 Example 1.8.1-3. #D4 ,'DD72?D,' _[HG:De 1.9. Prefix for Transcriber-Added Signs A dot 5 must precede any braille sign or direction that is added to the score by the transcriber. 1.10. Bar Lines A blank space is always left between measures in braille music. Example 1.10-1. #B4 #A .N "\[ JDFE N 1.10.1. Special Print Bar Line A print dotted or dashed bar line is represented by the sign k between spaces. If the special bar line coincides with the end of a braille line, the sign is shown at the end of the line, preceded by a space. A dot 5 music hyphen is required after the last sign before the special bar line when it occurs in the course of a measure; the hyphen is not needed when the music is unmeasured or when the special bar line separates measures. Example 1.10.1-1. #D2 #A "RP" K ]\$: Yk 43 Example 1.10.1-2. ^<1"!hidji k \ghi 1.10.2. Special Braille Bar Line Unusual circumstances, such as measures that contain irregular spacing in the music line to accommodate chord symbols in the second line of a parallel, make it necessary to separate measures with a special sign. The sign l is given in the music line(s), preceded by at least one space after the last sign of the first measure and one space before the first cell of the second measure. This sign is not considered to be transcriber-added and does not require a prefacing dot 5. The sign is not required when the end of the first measure occurs at the end of the braille line. (See Par. 29.17.1 regarding use of this sign in keyboard music.) Example 1.10.2-1. #D4 #A "R P L :\$: L Y ,C,A#G,D#G ,G#G ,C 1.10.3. Double Bars Either the final double bar 44 Example 1.10.3-2. #B4 #A "?: $] 1.11. The Braille Music Hyphen When a measure is interrupted for any of many reasons, including interrupting the rhythm at the end of a braille line in order to continue it on the next line, the music hyphen (dot 5) must follow the preceding sign without an intervening space, but must itself be followed by a blank space if the music continues in the same braille line. Its proper use is illustrated in many of the musical examples throughout this work. 1.12. Doubling of Signs Many signs may be doubled when they occur four or more times in succession. Single-cell signs are doubled by brailling the sign twice. Some two-cell or three-cell signs are doubled by restating the complete sign, while others are doubled by restating only part of the sign. All doublings are terminated by brailling the sign once at its last successive occurrence in the print. Each sign that may be doubled is identified in this work where the sign is introduced, and the method of doubling is specified in the case of each such two-cell or three-cell sign. 1.13. Print Brackets Various kinds of brackets that appear in print music are represented in braille by pairs of signs that indicate the beginning and ending points of the brackets. These signs are placed in the music lines without intervening spaces or special octave marks for the notes that follow them. Each sign must be placed on the same line as the sign that it precedes at the beginning or that it follows at the ending. 45 1.13.1. Print Brackets above or below the Staff Brackets printed above or below the staff are usually one of three types: a solid bracket with beginning and ending marks, a bracket of dots or dashes with beginning and ending marks, or an open-ended bracket that has a beginning mark but lacks an ending mark. Example 1.13.1-1. <<#D4 #A ;1.EJDJIH["2 ;'HJIJDE?,2 ?:;1FDED "JIW"2;'GIHI JDJ,2EFE? 1.13.2. Small Brackets Enclosing a Print Symbol In facsimile copy, small brackets that enclose a single note or some other feature are represented in braille by the sign "' for the opening bracket and the sign ,1 for the closing one. In nonfacsimile copy such brackets are represented by music parentheses or the prefix for editorial markings. (See Pars. 21.3– 21.4.) 1.14. Coincidence of Notes in More Than One Part The sign ;2 may be placed before notes in each of two or more parts in keyboard or ensemble music to indicate that they occur simultaneously. (See Par. 29.5 regarding alternative methods of showing coincidences in keyboard scores.) Example 1.14-1. #C4 A .>_21'.(JIHGFE;2GIHGFED;2FHGFEDJ .N' 46 1.15. Errors in Print Music Where a musical error of any kind is encountered in the print copy, the choice of procedure depends upon whether the transcription is or is not facsimile. If the transcription is facsimile, the music must be transcribed as it is in the print. If the transcriber is quite certain what the error is, a music asterisk may be inserted at the point of the error and the correction given in a transcriber’s note, either as a description or in music notation. If the transcription is nonfacsimile, the transcriber may braille the music with the notation corrected, indicating the point of difference with a music asterisk. The correction that has been made must be described in a transcriber’s note. 1.16. Music Notation in Literary Context Literary material is transcribed according to the current Rules of Unified English Braille. The opening music code indicator ,' and terminator ;2 are chiefly used when music signs are interjected within literary material. Either sign is placed immediately before the first character of music or text, preceded by a space. If the music concludes with a double bar, it is not necessary to use the music code terminator for the following word text. When literary punctuation is used with braille music notation, the punctuation indicator _ separates the music symbol from the punctuation mark. The literary punctuation indicator signals a return to reading literary material; it is not necessary to use the music code terminator before the following word. However, when a comma separates successive music signs or separates the music signs from literary text, it is represented by dot 6, is not preceded by the punctuation indicator, and does not indicate a return to literary code. When words form an integral part of the music that is so displayed, they must be shown as word-sign expressions and should not be set apart through the use of code switching. Example 1.16-1. ,! NOTE ,'"! ;2IS US$ = TUN+4 The note is used for tuning. 47 Example 1.16-2. ,! 9/RU;T IS TUN$ ?US3 ,'>/L.&9/0_4 ,UNUSUAL TUN+S 444 The instrument is tuned thus: . Unusual tunings ... Example 1.16-3. ,:5 ! NOTES ,'.= ( ! ;2ETC4 >E SUNG1 When the notes etc. are sung, Example 1.16-4. ,TYPICAL SIMPLE MET]S >E ,'#B4, #C4, ;2& ,'#D4_4 Typical simple meters are 2/4, 3/4, and 4/4. Example 1.16-5. ,! Move;t closes ) ? mock+ motif ,'#c4 ^[>pizz'^ffgf vv>arco^\ N' The movement closes with this mocking motif from the basses and cellos. 1.17. Placement of Copyright Notices in Anthologies Notice of copyright is ordinarily given on the title page of a score. However, in an anthology where pieces have individual copyrights, the copyright information is placed in paragraph form at the end of each selection, after a blank line. 48 2. NOTES AND NOTE VALUES (Table 2) 2.1. Note Names and Values The notes of one octave of the scale of C are given in Table 2. The eighth note (quaver) consists of only the name of the note occupying dots 1245. Dot 6 is added to form the quarter note (crotchet), dot 3 the half note (minim), and dots 36 the whole note (semibreve). Each sign also represents a smaller value. The number of notes in a measure will usually be a sufficient guide to the reader in determining to which of the two values any note belongs. Example 2.1-1. #D4 #a "Y OP #B4 "]I(= "&QR!TNO?W[\Qs\]\GFGF: 2.2. Alternative Signs for Double Whole Note With regard to the two signs given for the double whole note, the simple two-cell sign is used unless confusion is likely to arise with the signs for the 5th finger, open string, or natural harmonic, in which case it must be replaced by the compound four-cell sign. 2.3. Dotted Notes A dotted note is shown by adding dot 3 after the note. When a note has more than one dot, the same number of dot 3s are given in the braille. No other sign may come between the note and the dot. Chart 2.3-1. Dotted Notes Dotted quarter ?' Double-dotted quarter ?'' Dotted breve yk' or y~cy' 49 2.4. Larger and Smaller Value Signs Where confusion is likely to arise about whether the value represented by a note is the larger or smaller (e.g., in the case of the half preceded or followed immediately by a 32nd), the larger ^<1 or smaller ,<1 value sign must be placed before the change of value. Any use of the 256th note or rest requires a value sign for each such passage. (See Sec. 8 regarding grouping of notes of smaller value.) Example 2.4-1. Half and 32nd notes #C4 .N,<1NOPQH Example 2.4-2. 128th and 64th notes #D<#C4 ;&-.!-XV,<1X^JIHIJD*E" _FGHIJD*EF_11']HIJD*EFGHIH 2.4.1. Different Smaller Values The appropriate value signs are required when different degrees of smaller values occur. Example 2.4.1-1. 256th, 128th, and eighth notes ^<1"D;<1ZFGHIJDE&GHIJDEF" ;ZDJIHGFEYJIHGFEG" ,<1"DEFGHIJDEDJIHGFH^<1DE? 50 2.4.2. Value Sign Sometimes Required in Incomplete Measure When a piece begins or ends with an incomplete measure and there is any doubt as to the value of a note or rest, the sign ,<1 is used if the note or rest belongs to the smaller of the two values. Example 2.4.2-1. #c4 ,<1"r .fzywX'st d'&O 2.4.3. Unmeasured Music In cadenzas or passages of unmeasured music where it is often difficult to distinguish between the larger and smaller note values, the value signs must be used. Example 2.4.3-1. Unmeasured eighths #D<#C4 .>"G+-,55^<1*^IJDEFGH*IJDEFGH" *"IJDEFGH,5*I "J 2.5. Specially Shaped Notes Modern notation sometimes includes note heads with special shapes indicating either time span or special effects. In braille the shapes are indicated as shown in Table 2 and are placed before ornaments, nuances, accidentals, and octave marks. When no specific note value is shown, the value of an eighth note is used. “Note heads only” have no stems and are filled in (like quarters and smaller values). Notes of “indeterminate or approximate pitch” usually are stem signs without note heads. (See Example 16.7-1 for an example of approximate pitch at the end of a slanting line.) 51 2.5.1. Doubling of Specially Shaped Notes A sign for a special note shape may be doubled when four or more of the same type occur successively. Only the second half of the sign is repeated. The print instruction for the organ music excerpt below states that an open note head “equals longer duration” and a filled-in note head “equals shorter duration.” Because an open note head and a whole note are identical in print, they are identical in braille. Example 2.5.1-1. "Z5A%G*=5AF<&Y 2.6. Proportional Notation When music of early centuries is written in proportional (mensural) notation, the following scale of values is adopted: Chart 2.6-1. Proportional Notation Maxima yz&=(!) Longa nopqrst Brevis ?:$]\[W Semibrevis defghij 52 3. OCTAVE SIGNS (Table 3) 3.1. The Octaves For the purposes of music braille notation, the musical scale is divided into so-called octaves, each octave comprising the notes from any C to and including the next B above. These octaves are numbered 1 through 7, beginning with the lowest C on the piano. The octave below 1 is called the sub octave, and the octave above 7 is called the super octave. 3.2. Rules for Octave Marks The rules governing the use of octave marks are of the greatest importance. The pitch of a note is shown by preceding it, when required, by the particular sign for the octave in which it stands. No other sign may come between them. 3.2.1. Octave Marks Required at Beginnings The octave is always marked for the first note of a braille line, the first note following any occurrence of a numeric indicator or word sign, and at various other points which are explained throughout this document wherever they are relevant. 3.2.2. Need Determined by Melodic Interval In a melodic progression: (a) the octave is not marked for the second of two consecutive notes if the interval is less than a fourth, (b) the octave is always marked in a skip greater than a fifth, and (c) the octave is only marked in a skip of a fourth or fifth when the second note is in a different octave from the first. 53 Example 3.2.2-1. #F8 #a >7a7.djihfg >7b7"e"ji.hg"i >7c7.d"ghei.e ?"d?' 3.3. 8va and 15ma In nonfacsimile transcriptions, the words “8va,” “15ma,” “loco,” and similar expressions are represented by transcribing the pitches in the octave in which they are to be performed without noting the expressions. In facsimile copy, these indications may be transcribed using either of two methods. Example 3.3-1. Nonfacsimile #C4 #A "[.FIDI ];DGIG \.HJE.G $EF? 3.3.1. Facsimile Transcribed as Words In facsimile copy, these indications may be transcribed as word- sign expressions, the notes being transcribed in the octaves in which they are printed. The music of Example 3.3-1 would be transcribed as follows. Example 3.3.1-1. #C4 #A >/l"[.FIDI ]>#HVA''.DGIG \>'.HJE.G .$EF? 54 3.3.2. Facsimile Transcribed with Two Octave Signs Alternatively in facsimile copy, the first note of the passage so marked is given two octave signs, the first showing its position on the print staff, the second its actual sound. Any octave sign occurring during this passage must be that of the sound and not that of the staff. The first note after the end of the passage is given a double octave mark to show that its position on the staff corresponds with its actual sound. These special octave markings must be given even when the notes would not otherwise need octave signs. Example 3.3-1 would therefore be written as shown in Example 3.3.2-1. However, it would be confusing to use this device for isolated notes or chords below the first octave or above the seventh octave, which already have two octave marks, and those notes or chords should be given as word-sign expressions, as described in Par. 3.3.1. Example 3.3.2-1. #C4 #A >/l"[.FIDI ].;DGIG \..HJE.G $EF? 55 4. CLEF SIGNS (Table 4) 4.1. Clef Signs Limited to Facsimile Transcriptions Clef signs are routinely omitted in braille music transcription. However, when facsimile copy may be desirable, for instance in music transcribed for the benefit of the blind teacher with sighted pupils, the clefs used in the print must be marked in the braille copy. 4.2. Octave Marks and Dot-3 Separators The note following a clef sign must always have its proper octave mark. If the sign following a clef sign contains a dot 1, 2, or 3, the signs must be separated by a dot 3. Example 4.2-1. #D%#C4 #A >#L^JIHG7 $V>+"L'>P"FG H'=(I'JH qV 4.3. Staff Line Given with Clef Sign When it is necessary to show the line on which a clef is placed, as must be shown with the tenor, baritone, and French violin clefs, the last cell of the sign l is preceded by a mark designating the number of the line. The mark is the same sign as the one that represents that number as an octave mark. 4.4. Clef Signs with Ottavas When a clef has a small 8 printed above or below it, indicating an octave higher or lower than usual, the clef sign is followed in braille by a numeric indicator and an upper cell or lower cell numeral 8. 56 4.5. Modified Clef Signs When print clefs are included in the braille transcription and the part for one hand moves into the staff allotted to the other, the modifications given in Table 4 are substituted for the normal clef signs in that hand. Accidentals must be re-marked after a modified clef sign. These added accidentals must be preceded by dot 5 to identify them as transcriber-added. Directions in which intervals and in-accords are read are determined by the initial hand signs of the lines, not by the staves in which the notes are printed. Example 4.5-1. %%.C A .>'>/L.:#0;O#0V Example 4.5-2. .C A .>'>/L.:#%0;O#%0V 57 5. RESTS (Table 5) 5.1. Rest Signs The signs in Table 5 should be used for all rests that occur in the print. A measure of silence is indicated in the print by a whole rest, whatever the time signature may be, except that in 4/2 time the double whole rest may sometimes be found. 5.2. Transcriber-Added Rests It frequently happens that the braille text can only be made clear to the reader by the inclusion of rests that do not appear in the print. Each transcriber-added rest must be preceded by dot 5. Example 5.2-1. #D4 .>"U"X"IJD .EXJXR 5.3. Multiple-Measure Rests When a silence is prolonged for two or three measures, two or three successive whole rests are written unspaced, the group preceded and followed by spaces. When it extends for four or more measures, one whole rest is written, preceded by the appropriate number including the numeric indicator, the combination preceded and followed by spaces. The following note requires a special octave mark. 58 Example 5.3-1. #c4 #a ^qv mm rv #dm ^n' 5.3.1. Multiple-Measure Double Whole Rests When consecutive measures of silence are shown by double whole rests, the two-cell breve sign must be used with the appropriate number. For example, #bmk represents two full measures of rest. 5.4. Dotted Rests A dotted rest is shown, as a dotted note is shown, by adding the same number of dot 3s as there are dots printed after the rest. No other sign may come between the rest and the dot. 59 6. ACCIDENTALS AND KEY SIGNATURES (Table 6) 6.1. Placement of Accidentals An accidental is placed immediately before the note or interval to which it belongs and must not be separated from it by anything but an octave mark. In general, accidentals should be marked wherever they occur in print. When an accidental has been printed above or below its note rather than in the staff, the dot 6 prefix should immediately precede the sign. Example 6.1-1. #F8 #A "[%H 6.2. Restating Accidentals As in print, an accidental remains in force until it is countermanded or until the end of the measure, but only for the same note at the same pitch. An accidental should be restated at the beginning of a segment or parallel, or a new braille page, or after any major interruption such as a long word-sign expression, a volta, etc. Every transcriber-added accidental must be preceded by dot 5. Example 6.2-1. #D%.C #A >F'*"O*\J*E *O" >SUB' P'> "*.EJ*H*E %"EW'U 60 6.3. Quarter-Tone Accidentals There is no standard print notation for quarter or three-quarter sharps or flats. Among other possibilities are a backward flat sign, a sharp sign with one or three vertical lines instead of two, and arrows pointing up or down. When publisher’s instructions make the meaning clear, the instructions should be included in the transcription and the signs from Table 6 placed in the braille music line. In the following example, the sharp sign with a single vertical line indicates a quarter-tone sharp and the sign with three verticals indicates a three-quarter-tone sharp, as defined by the composer. Example 6.3-1. #c4 #a ^?_$'g @%]%]'_%g r' 6.4. Accidental Signs in Literary Context When accidentals occur within a literary context, the appropriate signs from the Unified English Braille list of characters are used. (See Par. 1.16 regarding other music notation that is interpolated within a literary passage.) 6.5. Key Signatures When a key signature consists of one, two, or three accidentals, it is represented in braille by the corresponding number of flat or sharp signs in succession. When it consists of four or more accidentals, the number including the numeric indicator precedes a single flat or sharp sign. A key signature is preceded and followed by a blank space (unless it is followed immediately by a meter signature) and is brailled where it appears in print. The signature at the beginning of each staff in print is omitted after its first appearance in a score. A change of key is placed wherever it occurs and generally should be placed on the same line as the following note. The first note after a key signature requires an octave mark. (See Par. 1.7 regarding key signatures in music headings.) 61 Example 6.5-1. #e%#d4 #a "r\'I t'v #e*<<< "s['j n'v 6.5.1. Unusual Key Signatures When there is an unusual key signature, it should be written as follows: music parenthesis, hand or clef sign, accidental, octave mark, note(s), closing music parenthesis. Example 6.5.1-1. Unusual single key signature ,'>/l'%.y,'#d4 Example 6.5.1-2. Unusual combined key signatures ,'.>'<"!<) _>'%_=,'#c4 62 7. METER INDICATIONS AND TIME DEVICES (Table 7) 7.1. Meter Signatures A meter signature (time signature) is preceded (unless it immediately follows a key signature) and followed by blank spaces. A change of meter is placed in the music line wherever it appears in print and preferably is brailled in the same line as the following note. The first note following a meter signature requires an octave mark. (See Par. 1.7 regarding meter signatures in music headings.) Example 7.1-1. %%#C4 #A "][.: #B4 .DF"\ GI$ #aa16 "wie=&( #E4 "][.]F"J? #B4 "JG[ 7.1.1. Meter Signature Incorporating Note Values When a meter signature consists of a numeral and a note symbol to indicate a rhythm value, the numeral is followed by the music code indicator and the note C is used to illustrate the value. Example 7.1.1-1. <<#B,'? #A .\$ #C,'D .]E #B,'?' .FED:X 7.1.2. Meter Signature with Two or More Upper Numerals When a meter signature contains more than one numeral above and a single numeral below, the braille follows the print exactly. Print punctuation, if used, is included in the braille. If punctuation or other print signs appear between the numerals, a single numeric indicator is brailled at the beginning of the meter signature, no spaces are inserted, and the final lower-cell 63 numeral is placed unspaced at the end. If no punctuation or other print signs appear between the numerals, the numeric indicator is repeated, unspaced, for each upper numeral but not before the lower numeral. Example 7.1.2-1. #B+C+B8 #A ^?\'_? $\J? Example 7.1.2-2. #C#D8 #A .D'&EFGH"J ['@C[V 7.1.3. Combined Meter Signatures When meter signatures are combined, the two signatures are brailled without an intervening space. Each of the component signatures begins with a numeric indicator. Any punctuation or other print signs are placed as they occur in the print. Parentheses are represented by the music signs, not by the literary ones. Example 7.1.3-1. <<<#E8#B4 #A "$GHF GF: ?FH.D $? Example 7.1.3-2. Plus sign <<<#E8+#B4 #A "$GHF GF: ?FH.D $? 64 Example 7.1.3-3. Parentheses <#C4,'#F8,' #a .?JIHF E'&GFE%D O' 7.1.4. Symbols for Meter Signatures The 4/4 meter signature may be represented in print by a symbol consisting of a capital letter C centered in the staff. It is often termed “common time.” The braille sign .c is used to show this sign. The alla breve meter (2/2) may be represented by the capital C intersected by a vertical line. It is often termed “cut time.” The braille sign _c is used to show this sign. 7.1.5. Meter Signature in Literary Passage When a meter signature appears in a literary context, and looks like a fraction, it must be understood in music code, and must be presented as a signature, preceded by the music code indicator, as is all other music notation. 7.2. Real-Time Devices When durations are given in actual time (usually in seconds) rather than in measures of beats using standard note values, most print presentations are variants of either of two graphical approaches. A number may be written above a note, rest, or action to indicate how long, in seconds, it is to be executed; a bracket of some sort is sometimes associated with the number. Otherwise, units of time may be indicated by print “ticks” of some sort above the staff. Such devices are not standardized. However, the device is usually explained in a composer’s or publisher’s remark. In all cases, a transcriber’s note is required. The following two illustrations are suggestions for transcribing typical presentations. 65 7.2.1. Durations Printed as Numbers When durations of notes, silences, or actions are given in print as fermatas for a specified numbers of seconds, the sign for a second (dots 45) follows the braille equivalent of the activity and is followed by the applicable number. Example 7.2.1-1 consists of a six-second pause followed by a note that is to be sustained for five seconds. Example 7.2.1-1. "m; 7.2.2. Time Indicated by “Tick” Marks When durations of notes, silences, or actions are indicated by “tick” marks above a staff that indicate the passing of seconds, the sign for a second (dots 45) is written in the music line and must be preceded and followed by spaces unless accompanied by a number. In that case, the sign for a second precedes the numeric indicator, and the combination must be preceded and followed by spaces. If the duration of time is shown in print with a line of extension and no number, the line of duration (dots 36, 36) appears in the braille. This line must be preceded and followed by spaces. In Example 7.2.2-1 the numbers of seconds from the beginning of the passage have been brailled at the margins at the beginnings of segments, where measure numbers would ordinarily appear. The beginning of the staff, the dashed bar lines, and the ticks are understood to mark the beginnings of seconds. Example 7.2.2-1. ^#e >mf>c'5a<_e -- ^ -- ^ -- ^ -- ^ -- k ^#aj >molto vibr'> >f>c -- ^ -- ^ -- ^ -- ^ >ff -- k 66 7.2.3. Alternating Metric and Real-Time Notations When music contains some passages with meter signatures and some with unconventional time-related notation, the word-sign expression “time notation” is inserted where appropriate in place of a meter signature. 67 8. GROUPING OF NOTES (Table 8) 8.1. Braille Note-Grouping Procedure Braille grouping of notes of smaller value than eighths is similar to print beaming but is not the same. Print beams cannot be followed as a guide for braille grouping. For the purpose of braille, a regular group consists of three or more notes of the same value that occupy a full beat or a natural division of a beat. The general principle of braille grouping is to write the first note of the group in its true value, the remaining notes being given as eighths. If a rest of equal value takes the place of the first note of a group, the remaining notes of the group are given as eighths. Notes do not have to be beamed together in print in order to be grouped in braille. Grouping is not affected by the presence of slurs or ties, nuances, dynamic marks, etc. Example 8.1-1. #C4 #A "!JDJMDJI.ODJIRGFE #F8 "YEFGHI\X "&g.ed"ef?x Example 8.1-2. #C4 #A >P"!CJDCIM8D_8J8I.ODJI>C;B"RGFE #F8 "YEFG^2>F.8"HI.8)C88DJIH8G R' 8.1.1. Conditions That Prohibit Note Grouping Notes may not be grouped, and must be shown in their true values, when: (a) the notes are not contained entirely within the same beat or natural division of the beat; 68 (b) the group cannot be completed in the line in which it begins; (c) the group is followed on the same line and in the same measure by an eighth or dotted eighth note or rest; however, the grouping may be employed if the eighth that follows the group becomes the first note or rest of a part-measure repeat and is not shown in the braille as an actual note or rest; (d) a rest of equal value occurs at any place other than the beginning of the group; or (e) the group is interrupted by a music hyphen. Example 8.1.1-1. (a) #F8 #A "H!)YZY)? #C4 "H!)YEDJ? Example 8.1.1-2. (b) #i8 #A >VELOCE"Y.D<"E<.E*"E*.E<"&<.&<"!<.!" <")<.).y;D"J.J"I.I Example 8.1.1-3. (c) .C #A _YZ&=HFYEFG\ I(=&EDF7 ]\U Example 8.1.1-4. (d) #F8 #A M"FH.DFD&Y"(&MY O' 69 Example 8.1.1-5. (e) #C4 #A >F^!GI_EYJIH=&" >SUB' P'> ^(= FE?V 8.1.2. Value Signs for Clarity When a single note of smaller value at the beginning of a measure or beat is followed by two or more eighth notes, it is advisable to employ a larger-value sign before the first of the eighths to make it immediately clear that the notes are not grouped notes of the smaller value. Example 8.1.2-1. #B4 #A .&^<1EDJ! \V 8.2. Regularly Grouped Eighth Notes It is obviously not possible to employ the grouping procedure with eighth notes. Beaming of eighth notes in groups that occupy full beats or natural divisions or portions of beats is ignored in braille. 8.3. Irregular Beams Shown by Music Comma The music comma <1 must be used to convey the special grouping that results when notes of regular value are beamed across natural metric divisions. The music comma is placed at the beginning of each irregularly beamed group. If such a group is immediately followed by a rest or by a note of different value, no termination sign is needed. However, if the following notes of like value could themselves be mistaken as unusual grouping, a comma modified by appending a dot 3, whose meaning as a terminator is unequivocal, is used where the regular grouping commences. 70 Example 8.3-1. #C4 #A X<1"DJIH<1I HGF<1GFE D<1EDJ<1'DF _H"D_HFDJ N' 8.3.1. Irregular Beaming of Unequal Notes The music comma may also be used to indicate special beaming of groups of notes of unequal values. Note grouping should not be employed where special beaming suggests a meter in conflict with the given one. In the following example, for instance, the special beaming suggests 6/8 meter, while the true meter is 3/4. Example 8.3.1-1. #C4 #A .$D<1J'!J <1I'(!(<1G&YZ& :DJ"FE N' 8.3.2. Regular Grouping and Music Comma Used Together Normal braille grouping may be retained while special beaming is being shown by the music comma. Example 8.3.2-1. #C8 #A M<1"DJIH<1I (GF<1GFE<1' YIHGFE ?X 8.4. Single-Cell Sign for a Triplet The single-cell sign 2 is generally used to indicate a triplet of any value. The sign may be doubled for four or more successive triplets of the same value. The braille note-grouping procedure may be employed when the notes of the triplet are all of the same value. 71 Example 8.4-1. <<#B4 #A "T 2_W:] JI2DJI 2JIH22!HG(GF "=FE2&zyED T 8.5. Three- or Four-Cell Sign for Irregular Groups The three-cell sign (or four-cell if the number is greater than nine), consisting of dots 456 followed by a lower-cell numeral (without a numeric indicator) and a dot 3, is used to indicate an irregular group consisting of any number of notes other than three. The sign may be doubled for four or more successive like groups, by brailling the dots 456 and numeral twice followed by one dot 3. The braille note-grouping procedure may be employed when the notes are all of the same value. Example 8.5-1. %#D4 #A _7_7'^&HJDEDJ!DFGHGFZGIJDJI" _7'_(J%EFGFE P'V 8.5.1. Three-Cell Sign Used for Triplet within Irregular Group The three-cell sign is used to indicate a triplet of smaller value that occurs within a triplet of a larger value, or within any other irregular group. The braille note-grouping procedure may not be used in the triplet of smaller value. Example 8.5.1-1. #D<.C #A .?2.IHG2GFE2_3'ZY)DJ ! 72 8.5.2. Three-Cell Sign for Triplet among Other Irregular Groups The three-cell sign for triplets should be used when a triplet occurs among irregular groups of different value. The grouping procedure may be used. Example 8.5.2-1. #F8 #A _5'"(IJDE_3'"=I.E_7'"&GHIJD"F_3'ZGJ .DCJ.F:X 8.6. Adding Numerals That Are Absent in Print The number of notes in a triplet or other irregular group is sometimes not actually shown in print, assuming that it is visually obvious. The numeral is always necessary in braille when the three-cell sign is used. In the case of triplets, the presence or absence of a print numeral is not shown in braille. (See Example 8.5.1-1.) When the transcriber provides the missing numeral for any other irregular group, the grouping sign must be preceded by dot 5. Example 8.6-1. <#C4 #A .\$?<>"_5'"&DEFG"_6'(IJDE"I" "_7'")IHIHGF .N'<>2"GJI2HIH[ 73 9. INTERVALS (Table 9) 9.1. Transcribing Chords When two or more notes of the same value are sounded together, forming a chord, only one note is written according to Table 2. The remainder are represented by the signs in Table 9, which indicate the distance, or interval, of these notes from the written note. An accidental associated with one of the notes represented as an interval is brailled immediately before the interval sign or the interval’s octave sign. If the written note is dotted, dots are not added after any intervals. Example 9.1-1. <<<#C4 .>.?0*W0?- "['+H*+[+ .$93:*+0?#0 .O*+9-V 9.1.1. Octave Marks within Chords A note represented by an interval sign must be preceded by the appropriate octave mark when: (a) it forms a unison with the written note (the octave-interval sign is used with the appropriate octave mark), (b) it is the first or only interval and is more than an octave from the written note, (c) it is the second of two adjacent intervals that are an octave or more apart, or (d) it forms a unison with another interval that has been given previously in the chord. 74 Example 9.1.1-1. %#D4 .>"\"-.$"+\+"9?#0- "T+0"0O+9_9 9.1.2. Crossed Voices in Successive Chords When two parts represented by intervals cross one another in a chord, each note that is “out of place” must have its proper octave mark, the written order of the parts however remaining unchanged. It may be preferable to show crossed voices by means of an in-accord. (See Sec. 11.) Example 9.1.2-1. <#D4 .>"I0"+J93I0"+H+9s0+ 9.2. Direction of Intervals In general, music that is printed in the treble or alto clefs, such as keyboard right-hand parts, soprano and alto voices, violins, violas, flutes, etc., is transcribed giving the uppermost note of the chord as the written note and the remaining notes as intervals downward in relation to that note. Music that is printed in bass or tenor clefs, such as keyboard left-hand parts, bass and tenor voices, basses, cellos, bassoons, etc., is transcribed giving the lowermost note as the written note and the remaining notes as intervals upward in relation to that note. In any transcription that includes interval signs, the directions in which intervals are to be read should be stated either in a transcriber's notes page at the beginning of the volume or in a transcriber's footnote where the first interval sign appears in the music. (See the following paragraphs for related rules and exceptions to this general procedure: 29.2 regarding the hand parts in keyboard music; 29.4–29.4.3 regarding “visiting hands” in keyboard music; 29.12 75 regarding organ pedal parts; 30.4(b) regarding music for harmonic analysis; 31.1 regarding harp music; 33.4.2 regarding instrumental ensemble scores; 34.2.3 regarding unpitched percussion music; 35.10.1 regarding divided choral parts; and 37.1(j) regarding choral ensemble scores.) Example 9.2-1. #C4 .>.\9+]93F+9E/%0 .$+0O+9 Example 9.2-2. #C4 _>^$0+\+3I+9%G90 ^\#0R+9 9.3. Doubling of Intervals Intervals may be doubled when more than three successive notes are followed by the same interval or intervals which, with the exception of the first and last, are not modified by accidentals or other signs. Doubling of an interval is not affected by the presence of additional intervals that are not doubled. While it is not strictly necessary, it is customary to terminate all doublings at the end of a movement. Example 9.3-1. <<#B4 .>.E'++YEE .$3:0 .D'+9�E+D9 "T#0 76 9.3.1. Restatement of Interval Doublings All doubling of intervals in effect at the end of a braille page should be restated at the beginning of a new page, assuming that at each instance there is a sufficient number of notes to warrant such doubling. Thus, doubling will not be started at the bottom of a page if there are not at least three consecutive similar intervals on that page, nor will the doubling be restated at the top of the new page if there are not at least four of them at the beginning of the page. 9.3.2. Doubling Terminated at Modifiers or Interruptions Doubling of an interval must be terminated if the note represented by the interval sign is modified. However, the doubling may be continued by redoubling the interval sign, provided that three or more like intervals follow, all but the last of them unmodified. A doubling that is in effect just before a significant interruption should be terminated, even if the doubling is to be resumed following the interruption. Example 9.3.2-1. .C _>^I++JDE%+F%++*G$ _GGFEDJ?+ 9.3.3. Multiple Doublings Terminated Together If doubling of two or more intervals is simultaneously in progress, and one of the intervals must be terminated, all of the doublings must be terminated. Any doublings that may properly be continued may be redoubled at that point. Example 9.3.3-1. #F8 .>"I##00JD.CDJI##%00 "JE%D:'#0 77 9.3.4. Doubling of Intervals Larger Than an Octave When the intervals of the chords encompass a range greater than an octave, it is inadvisable to use any doubling of intervals except in the rare instance where all intervals are doubled and are therefore identical throughout the passage. Example 9.3.4-1. %%#D4 _>^:99++$]$ ^OT9+ ^[9:9/W9#:9/ ^&9- 9.3.5. Accidentals Omitted in Doubled Octave Passages In a passage of doubled octaves, the doubling is not interrupted by the occurrence of accidentals which would normally be marked for the octave as well as for the written note. Example 9.3.5-1. <<<#B4 _>'<^\<--$ <^:' 9.3.6. Doubling of Intervals with Fingerings In fingered music it is not advisable to double any interval other than the octave unless every note of the passage is fingered or unless the fingerings are so placed that there can be no possible doubt about the notes to which they apply. 9.4. Tone Clusters Tone clusters are printed in many different ways. Usually the top and bottom pitches are written as if they are pitches in a chord. Between the two pitches, a vertical line, box, thick bar, or other shape indicates the cluster. Accidentals or text may or may not accompany the cluster. In braille, the top or bottom pitch is written, according to the appropriate direction of intervals, 78 followed by the cluster sign and an interval sign indicating the other outside pitch. Example 9.4-1. _>'*^I^5B*- Example 9.4-2. .>.\^%B"/ Example 9.4-3. .>.Q^5B- 9.5. The Moving-Note Device The moving-note device, although infrequently employed, is chiefly useful for vocal music and keyboard settings of hymns. When two, or at most three, notes of equal value move below or above a longer note, they may be written as intervals separated by dot 6. It is not incorrect to show the same events employing in-accords. Complications of fingering, phrasing, and nuances render the device unsuitable for instrumental music in general. Example 9.5-1. #D4 .>.(+,9 .R'+,#,9V 79 9.5.1. Moving-Notes in More Than One Voice The moving-note device may also be used when two or more intervals move together in a similar manner, dots 56 being inserted instead of the dot 6. Example 9.5.1-1. #D4 .>.(+9;9+ .R'+9;#-;9+V 9.5.2. Octave Marks with Moving-Notes The marking of octaves in the moving part is governed by the rule given in Par. 9.1.1. Example 9.5.2-1. #d4 .>.&.-,"+ .n'0,3,0v 9.5.3. Moving-Note with Dotted Values The moving-note device may be used for a dotted quarter followed by an eighth note or a similar rhythm, but must not be used for syncopations or other unequal rhythms. The multi-voiced moving-note sign (dots 56) may never be used for dotted rhythms. Example 9.5.3-1. #D4 .>"P+',#Q0',9 "&+ 80 10. THE TIE (Table 10) 10.1. Single Ties The tie is placed immediately after the first of the two tied notes, or after any dot, fingering, tremolo indication, and/or slur. (See also Par. 13.5 regarding ties and slurs together. See Pars. 18.1.2, 18.2.1, and 19.3 regarding ties in relation to braille repeat devices.) Example 10.1-1. %#C4 #J .:@C :\$ :??@C ?.[.?@C ?W 10.1.1. Tie versus Slur Since the signs for a slur and a tie are identical in print but not in braille, the transcriber must sometimes discriminate between the two. In the following example, for instance, the fingering in the print shows that the sign is not a tie but a slur, giving a special effect. Example 10.1.1-1. %%#F8 .>;=-G1CGLG1CGLG1C=LGCGGCGG 10.1.2. Restatement of Ties In bar-over-bar or open-score format, all ties are restated at the beginning of a new parallel. In single-line instrumental music, restatement is required at the beginning of a new segment or a new braille page; it is unnecessary at the commencement of a run-over line, unless it constitutes the beginning of a braille page. Restatement is also required in all formats after a major 81 interruption such as a longer word-sign expression, a light double bar, a volta, etc. Reminder ties precede all other signs, except marginal measure numbers, hand signs, clefs, strain repeats, and time or key signatures. (See Par. 35.3.2 regarding restatement of the tie in vocal music.) Restatement of a chord tie (See Par. 10.2) is subject to the same rules. Example 10.1.2-1. #D%#D4 #A >FF.RP@C P@CFE>D.DF QO@C #D @C>P>C.EGEJ>D"HGHF >PP"( 10.1.3. Restatement of Accidentals with Tied Notes When a note inflected by an accidental is tied over a bar line, the accidental is restated if it is re-marked in the print. It is also restated, preceded by dot 5, when the accidental is not re- marked in print and the new measure is at the beginning of a new braille line or parallel, or if it follows a major interruption. The accidental is not restated when the second tied note falls at the beginning of a run-over line when the run-over line is a continuation of a divided measure, unless it would have been restated had the measure continued on the same line. Example 10.1.3-1. #C4 #J .?@C ?W 82 Example 10.1.3-2. #C4 #J .YJID@C YJIH!JDJ<)IHJ@C )IHG(! 10.2. Chord Ties The tie for a chord .C is used when more than one note is tied between two chords. Example 10.2-1 shows the tie used for a complete chord. Example 10.2-2 illustrates the chord tie between chords in which some of the notes are not tied. If one or more of the notes of two successive chords are repeated while the others remain tied, the single-tie sign must be used for each tied note or interval. Example 10.2-3 illustrates repeated notes in conjunction with tied notes. Example 10.2-1. .C _>_N+9-O+#0.C _O+#0^S9-+ Example 10.2-2. .C _>_N+9-.CN#0-.C _O+#3.CO+#@C0 _Y+9- Example 10.2-3. .C _>_N@C+9-@CN+@C9@C- _Y+9- 83 10.2.1. Chord Ties with Doubled Intervals If two chords are tied in a succession of chords written with doubled intervals, the doubling need not be interrupted. Example 10.2.1-1. #F8 .>.D##00.C .DJI.CIH.G.C .GFE?#0 10.2.2. Doubling Chord Ties When four or more successive chords are joined by chord ties, the sign may itself be doubled by restating the second cell. Example 10.2.2-1. #D4 .>.N#0.CC .N#3T+0 "T#0S+9 "S+3.CR@C/0 "(+9 10.2.3. Accumulating Arpeggios The accumulating arpeggio sign ^C is placed after the first of the accumulating notes, and a chord tie is inserted (a) between the last note of the arpeggio and the resulting chord when the ties lead to the notes of the chord, or (b) before the last of the accumulating notes when the ties do not lead to the notes of the chord. The accumulating arpeggio may be employed (c) when the values of the accumulating notes have been shown in their true values with separate stems and are therefore shown as stem signs in braille. 84 Example 10.2.3-1. (a) #D4 .>"H^CJEG.CR/#0- Example 10.2.3-2. (b) #D4 .>"H^CJE.CGR/#0- Example 10.2.3-3. (c) #B4 .>"(_A^CJ_B'E_BG.C\/#0- 10.3. Ties to Implied Notes When notes are tied to corresponding pitches that are clearly implied but not written in the print copy, the implied notes in their proper values should be indicated in the braille copy. In a facsimile transcription a music asterisk should precede such notes, referring to a transcriber’s note that might be worded as follows: “Though these notes are not shown in the print original, the intent is clear.” 85 Example 10.3-1. BA .> #F8 @C.:'@C:HC<>@C"S'@C _> #F8 .C^O'_+.C<>@C"$H^C.:'.C BB .> #D8 ;:"1@C"[.KX>MP.F 86 11. IN-ACCORD AND MEASURE-DIVISION SIGNS (Table 11) 11.1. In-Accord Procedures When, during the course of a measure, two or more simultaneous parts cannot be written as chords, they are written in succession and joined, without intervening spaces, by an in-accord sign. The parts presented in this way may comprise the entire measure, or the measure may be divided into convenient sections, each section being treated as an isolated unit. The associated sign for a full-measure in-accord and those for dividing the measure and joining part-measure in-accords are different. In all cases, the order in which the parts are written is governed by the same principles as those followed for the writing of intervals: treble parts from highest to lowest, bass parts from lowest to highest. (See Par. 9.2.) The octave must always be marked for the first note after any of the signs, and it must also be marked at the beginning of a measure that follows a measure that ends with an in-accord. 11.1.1. Full-Measure In-Accords When the in-accord procedure is used to show the music of a full measure for a hand part or other part that contains two or more independent actions, the component parts are joined by the full- measure in-accord sign. Each side of the in-accord must contain exactly a full measure of note values. If it is necessary to provide rests that are implied but not actually shown in print, each transcriber-added rest must be preceded by dot 5. Example 11.1.1-1. <<<#B4 .>"JH.D')<>V"FD "I(!)IHG<>"G'&EYZ "R+ 87 Example 11.1.1-2. %%#C4 _>^S'<>X_FGHIH<>"?:? _O'+- Example 11.1.1-3. #D4 .>.P+O+<>"HIJIHGFE .N'-V Example 11.1.1-4. <<#C4 .>.::$<>"X.DJIHI .O'+ 11.1.2. Part-Measure In-Accords When the music of a measure is too long or too complicated to be clearly shown as a full-measure in-accord, it is advisable to divide the measure into convenient sections, each section being treated as an isolated unit. The measure-division sign stands between the sections without intervening spaces. The part-measure in-accord sign joins the parts of the resulting section. The music on each side of the in-accord sign must contain exactly the same total note value. In many cases, the transcriber must arbitrarily choose between a full-measure in-accord and a divided measure 88 employing one or more part-measure in-accords. Only a part- measure in-accord may be used for an incomplete measure. Example 11.1.2-1. %#F8 .>.G00!(=&0.K.ZDJIJI"1"GED "\'0W'0 .YJIH.ED"1"EFG.K"J+I0G+ "R'0 Example 11.1.2-2. %#f8 j .>.efg"1.?i .\'0$'0 11.1.3. Nested In-Accords A part-measure in-accord may be employed within a full-measure in-accord. Part-measure in-accords may not be further subdivided. Example 11.1.3-1. %%.C .>.&<>.O#.K.N+"1"$\ .!9-+ 11.1.4. Crossed Voices When parts are crossed in contrapuntal music, the directions of stems may often be used to determine the order of the in-accord parts. 89 Example 11.1.4-1. #F8 .>.?"H$H<>X"EFDEF "FEDEFG<>"\I\E 11.2. Restating Accidentals in In-Accords Accidentals brailled before a measure division sign or either type of in-accord sign do not affect notes in the same measure that are brailled after the sign. It is therefore often necessary to re- mark accidentals to avoid possible errors in reading. Accidentals added by the transcriber must be preceded by dot 5. Example 11.2-1. #D4 .>'%"HJ.FE?'" 11.3. Continued Doublings and Slurs in Consecutive In-Accords When intervals or nuances are doubled in the same sides of consecutive measures of full-measure in-accords, they may be considered to continue in effect. All restrictions regarding doublings must be observed. Slurs, either doubled or bracketed, are likewise considered to continue. (See Par. 13.6.1 regarding slurs transferred between in-accord parts.) Example 11.3-1. <#C4 .>'X88"I.EDJI<>;B"Q%? "HGJ8IHCG<>":%?:^2 "P9V 90 11.4. Dividing a Measure between Lines Whenever an in-accord or measure-division sign occurs at the end of a braille line, that sign signifies that the measure is incomplete, and therefore a music hyphen would be redundant. In order to maintain the cohesion of the parts as much as possible, it is preferable to divide the measure at one of these signs rather than to divide one of the parts by means of a music hyphen, provided that doing so does not result in unnecessary additional braille lines. Example 11.4-1. <#AB8 .>'M"=(!tDEFZ*)%(.YSH%GF"1"P'.K .Y!*=<)*RGFH=PQ(QR!("1":'%?' 91 12. STEM SIGNS (Table 12) 12.1. Function of Stem Signs It is sometimes difficult or impossible to render concisely, by means of the in-accord sign, passages containing notes printed with two stems indicating either identical or differing values. The stem signs are used for this purpose. Stem signs should be used with great discretion; the in-accord device is preferable where it can be used. The values of notes shown in print with additional stems may sometimes not be values that are rational in the meter of the measure. In such cases the use of stem signs is the only means by which the print can be represented in braille. 12.2. Placement of Stem Signs Stem signs are placed after the notes to which they belong and may not be separated from them by the music hyphen. When the two values are different, it is the larger value that is shown as a stem sign. Example 12.2-1. %%%#D4 _>^I_K_F"D_F^I_K_GIE ^H_K_F"E_F^I_K_F"D_F Example 12.2-2. #D4 .>"H.DEF_K"I.H_KE"I 92 12.3. Modifiers with Stem Signs Stem signs may be dotted in the same manner as written notes. They may also be modified by the signs for ties, slurs, music parentheses and other variants, staccatos, and accents. (See Tables 10, 13, 21, and 22.) Example 12.3-1. #F8 .>"H_A@CJE"H_A.DF "G_ACI.F"H_AJ.G "IC_ADCF%"HC8_BJC.F .p'9%+ 12.4. Intervals with Stem Signs When a chord is brailled with stem signs, the stem sign must be shown after each interval of the chord as well as after the written note. Example 12.4-1. #C4 .>_)EHJ .ZJ.J_A+_A0_A"J(.J_A+_A9_A"JH" .Y;D_A#_A0_A.D"H %.S%0%+V 93 13. THE SLUR (Table 13) 13.1. Purposes of Slurs The slur signs in braille are used to indicate the connections and separations of notes that are shown in print by curved lines above or below the staff. They are also used in vocal music to indicate the relationships between the syllables of lyrics and the corresponding notes, whether or not curved lines are included in the print. (See Sec. 35 regarding syllabic slurs and phrasing slurs in vocal music.) 13.1.1. Rests within a Phrase A rest that occurs among the notes within a phrase indicated by a print slur line is treated as if it were a note. (See Examples 13.3.1-1 and 13.3.2-1.) 13.2. Short Slurred Phrases The single slur sign c is used to connect a phrase of two, three or four notes. It is placed after each note of the phrase except the last. It follows any fingering and is placed after the final interval of a chord. Example 13.2-1. <#C4 #A .?ICJCDCE :C?JCI \+C[+JCI "[+0C\+0C]#0 13.3. Longer Slurred Phrases When a slur extends over more than four notes, it can be presented in braille in either of two ways. It can be shown by doubling the single slur after the first note of the phrase (and its associated fingerings or intervals) and marking the conclusion of the slur by inserting a single slur after the next-to-last note. It can also be shown by enclosing the slurred notes between a pair 94 of signs ;B and ^2 that together are called bracket slurs. Example 13.3-1 is shown (a) with the doubled-slur device, and (b) with opening and closing bracket slurs. Example 13.3-1. (a) Single and doubled slurs %#C4 #J "JCICH ]CCFEFG HICJJCDCEC FECCDJIGC "R' 13.3.1. Preference for Doubled or Bracket Slurs Doubled slurs are required for longer syllabic slurs in vocal music. (See Sec. 35.) Bracket slurs are generally preferred for longer phrases in keyboard and other instrumental music. However, if the style of a particular movement or section of music consists of many short phrases, it may be appropriate to use the doubled- slur device when only a few phrases exceed four notes. Choosing this exception to the general preference is entirely a matter of the transcriber’s individual musical sensibility. Example 13.3.1-1. <#E8 #A "GCIDCJCE DCIGCHCF ECCFGHCJ ICGGCFCE %"DCCxDxCD :'@C: 95 13.3.2. Braille Repeats Enabled by Bracket Slurs In some circumstances, bracket slurs may permit the use of braille part-measure repeats when single slurs would require writing out all of the notes. Example 13.3.2-1. %%#C4 #A ;B_E&=77^2 ;B&ZD7^2JCI ;BEX7IX _E^2XGCXCICD O' 13.3.3. Layered Slurs When two levels of phrasing or articulation have been juxtaposed in print, bracket slurs are employed to indicate the larger (phrasing) dimension; single slurs, with the doubled-slur device where appropriate, are employed for the smaller (articulation or bowing) units. Example 13.3.3-1. %%%#B4 #A ;B_I)C!H=C( !CDCJCI$^2 ;BDCFFCI "YCC)!(CID W^2V 96 13.4. Convergence of Slurs Sometimes one slur ends and another begins on the same note. When both phrases are short, a special slur sign ,C is used following the note that precedes the common note. Example 13.4-1 illustrates use of this special slur sign. When the slurs are both shown with bracket slurs, a four-cell sign consisting of an opening bracket followed by a closing bracket is placed before the common note. Example 13.4-2 illustrates such a concurrence of slurs, shown with (a) single and doubled slurs, and (b) bracket slurs. Example 13.4-1. <<<#F8 #A "WCE,CDCJCI HCFCH]CF,C ECFCGC$' Example 13.4-2. (a) Single and doubled slurs %#C4 #J "JCICHC ]CCFEFG HICJCCJDEC P' 97 13.5. Slurs Together with Ties When a note is both tied and slurred to another note, the slur is redundant in braille, whatever its justification in print. The slur may be omitted in a nonfacsimile transcription. In a facsimile transcription, if either a single slur or a closing bracket coincides with a tied note, the tie must be placed after the slur. Example 13.5-1 includes several typical instances in which slurs and ties coincide. They are shown (a) with single and doubled slurs, (b) with single and bracket slurs, and (c) in facsimile employing single and doubled slurs. Example 13.5-1. (a) Single and doubled slurs #F8 #A ^['@CIC%HI ['@C!CC%HIJDCE _&CCZY)CI@CIJD 7 [cJ@CJCIC%H ^ICCDJ@CJIC%H S' 13.6. Slurs between Parts In music for keyboard instruments, slurs may be shown in print passing from one part or hand to another. The slur sign is modified differently in braille to indicate different sorts of such slurs. 98 13.6.1. Slurs between In-Accord Parts Where a slur passes from one in-accord part to another in the same staff, the “sending” sign _C is placed after the last note of the slurred phrase to appear in the part in which the slur begins, the “originating” part. The “continuation” sign ._c is placed before the first note of the continuation of the phrase in the “receiving” part. Use of these signs is adjusted under various conditions as follows: (a) In a short phrase, the sending sign replaces the single slur that would have followed the last note in the originating part if the phrase had been fully contained in a single part. The continuation sign precedes the first note of the continuation in the receiving part, and any remaining single slurs are given as usual if the continuation includes two or three notes. (b) In a long slur using bracket slurs, the continuation sign may be omitted if the continuation is located at the beginning of the following measure or parallel. (c) In a long slur using doubled slurs, when the portion of the phrase in the originating part consists of only one note, the sending slur is doubled by restating its second cell and replaces the initial double slur that would have followed the first note if the phrase had been continued in that part. (d) In a long slur using doubled slurs, when the portion of the phrase in the receiving part consists of only one note, the continuation sign serves to terminate the slur. If the portion of the phrase in the receiving part includes two or more notes, the continuation sign is doubled by restating its third cell, but may be omitted if the continuation is located at the beginning of the following measure or parallel; termination of the slur is given as usual by placing a single slur after the next-to-last note of the phrase. 99 Example 13.6.1-1. Short phrase, single slurs %%#D4 .>.OCQC<>X;B"FGHIHIJ .[V._CQC<>.?^2JCE_CX;B"HIJ .PU<>.DIJDO^2 Example 13.6.1-2. Longer phrase, bracket slurs <#B4 _>;B^)!)Y_CJC!C)<>_\._CZFGH ;B^JYZ&ZF^2<>_!HIJ?^2 Example 13.6.1-3. Longer phrase, doubled slurs #D4 a .>.ECCFED_C:FE@C<>"Q._CCJIHG _>_o^o b .>@c.EEDJS<>"FGFE%DJC? 100 Example 13.6.1-4. Longer phrase, doubled slurs <#b4 .>.?'i_CC<>"fcgchx "wcc.\<>"hgfec .fgfce<>"?v 13.6.2. Slurs between Staves The transfer slur sign "C indicates the point at which a slur that is started in one staff is transferred to another staff. The sign replaces a single slur where a single slur would otherwise be employed. In the midst of a longer slur, it is an additional sign either between a doubled slur and the closing single slur, or between the pair of bracket slurs. Example 13.6.2-1 first illustrates the transfer slur replacing a single slur, then as an additional sign between bracket slurs. When there is doubt about which of two or more in-accord parts may be the intended continuation of the phrase following a transfer slur, the modified sign "C' is placed at the beginning of the continuation. Example 13.6.2-2 illustrates use of this sign. Example 13.6.2-1. #C4 .>.?C"\C:"C UV ''''' "DFHF^2: 101 Example 13.6.2-2. %%#C4 DH .>"T0.CJ0X _>^T@CJX<>VXM;B_Z=HID"C DI .>.E%"!)D%"HII<>"C'"E'(G'&F'Y _>^\%IJD^G<>_Q] EJ .>.?T<>"O'^2